2018 Criterion Challenge Discussion Thread
 

http://upload.wikimedia.org/wikipedi...n_Logo.svg.png


September is upon us, so it's time to actually watch those Criterion discs we bought in July during the Barnes & Noble sale and get as many viewings out of our Hulu subscriptions as we can before the Criterion Channel launches on Filmstruck later this year! CardiffGiant has done a fantastic job hosting this challenge the last several years, and here's the overview of this challenge that he's crafted:

The goal of the Criterion Challenge is to watch Criterion content and share your experience with the rest of us. There is no specific number goal, no winners, no losers, no prizes.

Rather than compile long lists, watch what you would normally watch in a month, but concentrate it on Criterion content as much as you can/want. In fact, bulk watching is discouraged, as that will limit your time for discussion and for immersing yourself in a film. Participants are encouraged to explore fully a film and its supplemental material.

There will be a separate thread to include your lists as linked above. A daily journal sort of entry is recommended for your list. Since counting is not required or "scored" in any way, you are free to be as creative as you wish in how you list items. Bolding of your item titles is encouraged, if only to make them stand out to allow others to quickly see if they have seen the same items and wish to comment. Give reviews. Even if it's just a mini-review, a simple :up:/:down:, or a one word description. Be creative and personalize it however you wish - use one post for the whole month, daily posts, weekly posts, give reviews, provide IMDB links, add YouTube videos, add images, etc. It's recommended that you provide a link to your list(s) in your signature for easy access. Last year's List Thread should give you a good idea how participants format their lists.

What qualifies?

• Any film, short, video or supplemental feature that is planned for release or has been released by Criterion/Eclipse qualifies.
• The film does not have to be watched on an actual Criterion disc. You may watch the film on any format, provided that it is the same film that Criterion has released. For example, the film On the Waterfront was released by Criterion on DVD/BD. But you don't have to watch the movie on that particular DVD/BD. You can watch it on VHS, on broadcast TV, on FilmStruck (the new official streaming home of the Criterion Collection), anywhere else that may have the streaming rights, or any of the other DVD/BD releases On the Waterfront has had.
• Additionally, any title released by Criterion exclusively on streaming (See: FilmStruck) is eligible for this challenge.

Check out the full list of Criterion and Eclipse DVD and BD releases here. Criterion's website allows for sorting by Brand, Format, Director, Country, Decade, and Features. This will allow easy searching for working through needed checklist items.

There are some titles currently streaming on Netflix, including a number of OOP titles. On rare occasions, you can find an Eclipse title there as well.

The Criterion Collection's streaming library moved to FilmStruck in 2017. This is an add-on channel not included in the base FilmStruck subscription. It includes titles that have yet to be issued on physical disc from Criterion; any such film included in this channel is eligible for this challenge (but not anything else on FilmStruck outside the Criterion Channel).

Criterion titles occasionally appear on broadcast television. Keep an eye on this discussion thread for upcoming broadcasts.

Titles originally released on Criterion Laserdisc are also eligible for the challenge.

Optional Checklist

The checklist is completely optional. It is just a "fun" inclusion to give one a sense of accomplishment, to help one diversify viewing, or to use as a guide on what to watch next.

Each film can count for multiple sections, but only one check mark per section. Example: Pierrot le fou could count for the 1960's in Decades and Jean-Luc Godard in People, but it could not count for Godard and Anna Karina in People. You would need a separate film for Karina.


The challenge officially begins August 31 at dusk in whatever location you are in at the time, and ends on October 1st at dawn in whatever location you are in at that time. Also, feel free to time your final Criterion film(s) to coincide with the start of the Horror Challenge.

Online Resources

Re: 2018 Criterion Challenge Discussion Thread
 

Janus Films is marking the centennial of Ingmar Bergman's birth with a film festival series this year. Here are the theaters participating during the time of our challenge:

August 30 - September 2
Cary, NC - The Cary Theater

September 5 - September 26
Brookline, MA - Coolidge Corner Theatre

September 6 - September 21
Philadelphia, PA - International House

September 7 - September 16
Louisville, KY - Speed Art Museum

September 7 - October 14
Cambridge, MA - Harvard Film Archive

September 28 - October 28
Winnipeg, MB - Winnipeg Film Group

I'm pretty excited that the Speed Art Museum here in Louisville is showing these. I'm hellbent on seeing Persona and Wild Strawberries, my #1 and #2 Bergman films, respectively.

Also, during the winter, I won a Barnes & Noble gift card from a writing competition and treated myself to some stuff during the just-ended Criterion sale there. All stuff I've seen before, but I'm keen to revisit, and to check out the supplements.

Re: 2018 Criterion Challenge Discussion Thread
 

I shouldn’t make goals that I know will be almost impossible to meet, but 30 unwatched films would be nice.

Re: 2018 Criterion Challenge Discussion Thread
 

Since last year's challenge, Criterion has significantly revamped their website. I've updated the checklist links accordingly and made the following revisions:

• "People" has been changed to "Directors", as "People" no longer exists.
• "Themes" has been eliminated, as "Themes" no longer exists.
• Watch Five Trailers has been eliminated.

I made the decision on eliminating Trailers unilaterally. If there's any strong request to restore it, I'll do so. I'm pretty sure all the links are now working properly, but if anyone finds something that doesn't, let me know.

Re: 2018 Criterion Challenge Discussion Thread
 

I've tried to add a link to The Criterion Collection in iTunes, but when I test it on my end, I keep encountering a problem. It may be with my cache or something else, so could someone test this and see if it opens correctly in their iTunes Store?

Re: 2018 Criterion Challenge Discussion Thread
 

Maybe I wasn’t patient enough, but it didn’t quite open in mine. It looks like it’s trying to open the Criterion Collection, but it’s stuck in the music tab.

Re: 2018 Criterion Challenge Discussion Thread
 

Can I just say how much I hate, Hate, HATE the Criterion site redesign? Revamping the site was unnecessary and pointless, turning a navigable site into a mess. Losing the My Criterion page was a blow. Feh, I say, feh!

Re: 2018 Criterion Challenge Discussion Thread
 

I started tonight by watching my 19-year-old, pan and scan DVD copy of True Stories. Can't wait to upgrade to the Criterion Blu. Thirty-two years later, I'm struck by how prophetic the bits on technology and conspiracy theories resonate now. The movie is like if David Lynch and Godfrey Reggio had a baby.

Re: 2018 Criterion Challenge Discussion Thread
 

Travis, maybe I'm missing something, but the "Directors" section of the checklist is just to list five different directors whose films we've watched, correct? I ask because I don't see a "Directors" section on the Criterion website any more. So am I just missing the section, or do we just list five directors whose films we've watched?

Re: 2018 Criterion Challenge Discussion Thread
 

I hate to answer for Travis, but I know he might not be on here for a bit. Looking at the new checklist, my understanding would be that, yes, you're supposed to watch 5 movies by 5 different directors for that section.

Re: 2018 Criterion Challenge Discussion Thread
 

Thanks, LJG. That's what I've been doing, so I guess that I'm good.

Re: 2018 Criterion Challenge Discussion Thread
 

This made me laugh, and has a relevant reference.

Re: 2018 Criterion Challenge Discussion Thread
 

Late start for me, as usual. But in keeping with traditions, I began with Chungking Express. Fourth time I've watched it for the challenge.

I've been trying to knock out the rest of Spike Lee's filmography lately. I've already seen them, but I may rewatch Do the Right Thing and She's Gotta Have it.

I like Criterion's redesigned website, but it's been up for months and My Criterion is still "Under Construction."

Also, for anyone who's hesitant, you CANNOT go wrong with Filmstruck. There's way, way more stuff than Criterion ever had on Hulu. They have supplements for a lot of their titles, includine audio commentaries. And I'd guess at least 20% of the titles have never had a DVD release.

Re: 2018 Criterion Challenge Discussion Thread
 

I'm finally ready to start this challenge. I want to make watching one film from each decade my unofficial goal for this challenge, so I started by seeing what caught my eye in each decade and what was available from my library. I'm in the mood to mark some of Chaplin's work off my "must see" list, so he is featured very heavily for the first 2-3 decades.

I get to the 980s, though, and there it was: The Breakfast Club. When did this get a Criterion treatment?! First, don't get me wrong, I enjoy this movie, but does it really need a Criterion release? The same with Bull Durham... I have a feeling, I'm going to start with this one tonight since I do own a copy of it but, I think it's kind of pushing the boundaries.

Of course, I do have to admit to being excited about The Princess Bride getting a new release next month! I'm sure some of you would think the same about this film as I do about The Breakfast Club.

Re: 2018 Criterion Challenge Discussion Thread
 

Okay, I take it back. I can see why The Breakfast Club was picked. I forgot how sad/dark it gets at times. I always think of it as a comedy, but it's definitely more of a dark comedy/drama than anything else.

Re: 2018 Criterion Challenge Discussion Thread
 

I've been watching Topsy-Turvy tonight. It's about how Sullivan and Gilbert almost broke up their partnership. It's a bit slow paced, but I'm enjoying it overall. There are several segments of their operas being preformed which are enjoyable to watch. It was a fairly random pick based on it's Criterion number, but I'm glad I did.

Re: 2018 Criterion Challenge Discussion Thread
 

If anyone is interested in looking for some Showa era Toho kaiju films, Criterion has released many of them as Starz exclusives. If anyone has Starz On Demand, they are all there under Godzilla films.

Re: 2018 Criterion Challenge Discussion Thread
 

Wasn't that a fairly recent addition? I just figured it was one of those "let's release a more popular film to pay the bills" kind of things. :D

Re: 2018 Criterion Challenge Discussion Thread
 

Does Bull Durham really need a Criterion release? YES.

As regards The Breakfast Club, I highly recommend taking a few minutes to read this personal essay that Molly Ringwald wrote for The New Yorker earlier this year about the films she made with John Hughes, as seen with the hindsight of time. The things she spotlights as troublesome are things that bothered me when I first saw The Breakfast Club. It's kind of peculiar to me that mainstream society has begun to catch up to the reactions I had ages ago.

Moreover, though, I think the essay is worth reading because it uses these films as a microcosm for the #MeToo movement's impact on us as people unused to looking close enough to see the things that have gone on so casually for so long. When we think of films that might represent the cultural elements finally being challenged in meaningful ways, I don't think John Hughes's films come to mind as examples. For most of us, they've existed in an entirely safe spot in our minds, not "innocent", per se, but overall benign. We recall them as reflecting either our own experiences as teens or the experiences of people we knew as teens. They were films that understood us, which made them our cinematic friends.

Ordinarily, I wouldn't bring something that large into a thread. But given that the film has recently received the Criterion treatment around the time Ringwald's essay was published (Criterion discs were released 2 January; the essay was published 6 April), it's the kind of essay that I would honestly expect Criterion would have included in their materials had they had access to it. It's the kind of historical analysis that characterizes the essays they're known for.

Re: 2018 Criterion Challenge Discussion Thread
 

I would think so as I don't remember seeing it available last year but I'm not sure. To be honest, I'm sort of surprised they got the rights to do this; I would think that the original company would be making enough money they wouldn't want to sell it to Criterion to use. *shrugs* But what do I know? :)

Though, I think Criterion could get a broader audience by finding a few more "gateway" movies. Draw them in with a popular name, keep them by showing how well they treat them.

Re: 2018 Criterion Challenge Discussion Thread
 

It's worth remembering that in the LaserDisc era, Criterion was keen to issue releases of mainstream movies. It was only when DVD came along and the studios were able to release their movies with supplements themselves that they stopped licensing them to Criterion. As catalog titles have begun to wane on disc, we've begun to see Criterion get back into the mainstream.

Personally, I'm entirely in favor of that. My only caveat is that it would be a shame if mainstream movies began to dominate their library. I don't think that's an especially strong likelihood, though.

Plus, it increases the chances that there'll be enough recognizable movies for some of our fellow forum members who have previously shied away from this challenge to reconsider participating! Or, at least, in theory it could do that.

Re: 2018 Criterion Challenge Discussion Thread
 

Both you and the article about this film, make very good points. I know the last time I watched the film, it was about 10 years ago, well before #metoo. I was surprised at several things said and done and how my feelings about it had changed. I know I was surprised at how serious some of the actions and conversations were. Now, that prank/bullying by the Andrew (the jock) would have put him in jail. For a sentence or two, Brian (the geek) brings up how bad it was and then it's dropped...no consequences, just a day of detention. How Bender treats Claire is awful, and does show how harassment has become mainstream-no one thought twice about it. Why should they? At that point, this was mild!

It does highlight how much media helps make actions acceptable or horrific. At the time, no one really thought twice about those actions, but looking back from this point in time, these behaviors immediately stand out as inappropriate.

I do still see why Criterion picked this one. Perhaps, like I mentioned a bit earlier, they were looking for a commercial film that was popular to bring new viewers to their brand. John Hughes is a well known and fairly respected name. You say his name, people know who he is. Sixteen Candles is more light-hearted, I would say, than this one. The Breakfast Club is fairly dark. In the article, Ringwald comments that it has a play-like feel, and I can see how that would appeal and have more in common with the majority of Criterion's other films. Should it still have been picked? I'm not sure. It was an important film at the time it was made. John Hughes, as a director, really made an impact with his films, of which, this is a good example. I can understand why someone might want to give it a special treatment.

That being said, I doubt I'll watch it any time soon. My image of it has changed quite a bit and not in a positive way. Maybe by re-watching these films and pointing out the flaws will help show more people where they need to change their thinking about how women (and minorities/outsiders) should be treated not only in film, but in real life.

Re: 2018 Criterion Challenge Discussion Thread
 

Even aside from its content being reexamined, I do believe that The Breakfast Club merits inclusion in the Criterion library. It's a touchstone of movies that spoke to--and for--an entire generation. It's a solid pick to represent that part of its era and zeitgeist. I think the hangup for a lot of people, and I think maybe this is your issue, is that we're still catching up to the fact that our youth has now aged enough to be reconsidered as a past era.

For some context to consider, it has been 33 years since that film was released. Movies that were as old then as it is now include Singin' in the Rain, High Noon, and the final film Charlie Chaplin directed for Universal Artists, Limelight. That's right; The Breakfast Club is as close to Chaplin as it is to today.

Re: 2018 Criterion Challenge Discussion Thread
 

Ouch. Way to make me feel old! :)

Re: 2018 Criterion Challenge Discussion Thread
 

Yes, it's interesting that the DVD era had major studios pulling back their licenses, and now the pendulum is swinging back the other way, and the market doesn't care about Special Edition, Ultimate Edition, etc.

I imagine a lot of filmmakers like seeing their work on the prestige Criterion label.

Re: 2018 Criterion Challenge Discussion Thread
 

I certainly don't have a problem with Criterion adding it to the collection. When it came out, I was twenty-two. I saw it in the theater (since I'd loved Sixteen Candles), and it really impressed me. When I got home after seeing it, my brother, who was sixteen at the time, asked me what I thought of it, and I told him that it was a film that everybody needed to see, especially teenagers. I went back and saw it again a few nights later.

I didn't see it again for several years, and I realized when watching it that I wasn't enjoying as much as I previously did. I chalked it up to familiarity breeding contempt. The last time I saw it, which was probably a decade or more ago, I found myself actively loathing the movie. What had once seemed fresh, rebellious, and, most importantly, REAL to me now seemed to be absolutely calculating and fake. I don't know if had more to do with my growing out of my youthful idealism or a fine-tuning of my bullshit detector, but I found watching it to be excruciating. And that final freeze-frame, that so affected me when I first saw it? I realized that it didn't mean a thing--it was just a way to end the film.

Like I wrote at the start of this reply, I don't have a problem with Criterion adding it to the collection. At the time it came out, it meant a lot to a great many young people, and many of them still like it today. It made people aware of John Hughes as a director, and it made a stars (or bigger stars) of its cast. It's a snapshot of mid-eighties culture, and it was a popular and important work when it came out. All of that makes it worthy of being picked up by Criterion, even if I don't personally care for the film.

Re: 2018 Criterion Challenge Discussion Thread
 

PEOPLE. I got to see Persona at the Speed Art Museum here in Louisville tonight. If I'd had my pick of any Bergman film--or even any film in the Criterion library--to see on the big screen, this would have been it. Two of my friends joined me for it. As soon as the lights went up, I turned to see their faces. They were both blank. I immediately started laughing, which I saw elicited a disapproving look from a woman sitting farther down the row.

The film curator always makes a little introductory speech before showings, and prints programs that include essays (often the ones from Criterion where applicable). He characterized the film as "psychological horror", and I immediately shook my head to my friends to signal that I didn't concur with that. He elaborated that it isn't a horror in the conventional sense. I still felt that wasn't quite right, though.

And then the movie played and I realized that I'd been wrong and he was right. I attribute this to the fact that my previous viewings were all at home, by myself, with a rather modest setup. There in an intimately sized theater, a lot of elements played quite differently for me than before. I had always recognized the intensity of certain scenes, but they never quite evoked the kind of visceral reactions that I had tonight.

I thought I'd never get a crack at seeing this on the big screen, and I cannot overstate how thrilled I am that I got to. This experience has already begun to change my relationship with the film, and that's exactly what I hoped would happen. And getting to share it with friends made for the perfect movie-going outing.

This is, it is fair to say, by far the best opening I've ever had to this challenge! I dunno that I'll get through all of my goals, but even if this turns out to be the only eligible movie I watch this month, it's been a successful challenge in my book!

Re: 2018 Criterion Challenge Discussion Thread
 

I'm so glad it was such a rewarding experience for you!

I've been slowing watching Tokyo Olympiad tonight. A lot of distractions and interruptions but I'm getting there (It's also almost a 3 hour movie!)

If you haven't heard of it, it's a documentary of the 1964 Olympics that took place in Tokyo but along with races/long jumps and swimming meets, it focuses on the athletes and the spectators. I wasn't sure how I was going to like this one, but I find myself oddly invested in what is being shown and figuring out who won almost 55 years ago.

Having read the supplements, it seems like it was a controversial film as the men who ordered its making wanted a documentary that focused mainly on the updated, post-war city and Japanese athletes. Instead, they received a very broad range of international athletes, reaction shots of the crowd and flags of countries not Japan with a dash of the Rising Sun. I think the reason why it lasted was because it wasn't what it was supposed to be, though!

Re: 2018 Criterion Challenge Discussion Thread
 

Glad you had that experience, Travis.

One of my local (Portland) art house theaters will be showing Andrei Rublev starting Sunday. Not sure I can find a time that works, but damn I'm gonna try.

Last year another theater was doing a Lynch retrospective. Having mostly only seen his films at home, it was a a bit surprising how differently they played on a big screen. Eraserhead was an even deeper nightmare. Dune was an even greater vision of the far future of Man. Still don't like Wild at Heart, but I have a better appreciation of it.

More recently I watched De Palma's Sisters. Saw it many years ago. Liked it even more this time. And Margot Kidder :wub:

Also, I hate to say it, but I feel De Palma (sometimes) out Hitchcocks Hitchcock. Though it may be easier to refine a technique than invent it, the enjoyment I get from De Palma vs. Hitch speaks for itself.

Finished Tom Jones, too. Occasionally called one of the worst Best Picture winners (assuming whomever can stop ranting about Crash for a second), I found myself mostly enojying it. It's clearly a product of the 60s, and the fourth wall breaking doesn't always work. But Albert Finney is likable, even while constantly cheating on his (alleged) One True Love. Maybe someday I'll take a crack at that 1000 page novel.

Re: 2018 Criterion Challenge Discussion Thread
 

So, random question for everybody. When choosing movies to get from my library for the challenge, I went by year so I could watch at least one from every decade. I picked up Chaplin's The Gold Rush.

Originally released in 1925, Chaplin reedited it, cleaned it up, did a voice over, and basically made it his own director's cut version in 1942. Length is different as well.

If I watch the 1942 version, does it still count as a film from the 1920s?

Re: 2018 Criterion Challenge Discussion Thread
 

Is it the Blu-ray? It has both versions on the disc. I’d a bit OCD on that, so would count them as two separate films and decades.

Edit to add: I think most releases, DVD or BD, will have both versions.

Re: 2018 Criterion Challenge Discussion Thread
 

It does have both; I watched the '42 version. I went for the "definitive" Chaplin version. I just looked it up on Criterion and see they have it under the 40's, so I think that's how I would do it too.

For the film itself, I appreciated the voice over narrating the film. I'm not a big slapstick person, more watching a few of his films this challenge to get them off my "to watch" list than anything else. I laugh a few times. I also appreciated seeing the original "potato dance." I remember seeing it in Benny and Joon so now I know where it came from.

Re: 2018 Criterion Challenge Discussion Thread
 

Satellite TV can be a big help sometimes to watch movies you weren’t planning to watch. I was just browsing the Dish Guide tonight, seeing if there were any eligible films on. I came across a Tobey Maguire western on Encore Westerns, called Ride With The Devil . It is a beautifully shot Civil War epic about the Kansas Missouri border wars. I didn’t know what to expect in how good it would be when I turned it on, but I loved it. I was riveted to my seat until the movie finished signing off.

Re: 2018 Criterion Challenge Discussion Thread
 

I've been meaning to see that for awhile now. It came to my attention when I went through a Jewel phase. I'm not even entirely sure why I got away from her music, as it's not like I stopped enjoying or appreciating it. In any event, her being in it is why I ever heard about it in the first place, and still the chief reason I want to see it.

Re: 2018 Criterion Challenge Discussion Thread
 

I just finished watching Boyhood. Man, that is 3 hours of my life I'm not getting back. Ok, it's not that bad. I mean, I really like the concept of following the same actors over the years as they grow and age. However, it just had no point. When something significant happened, they never followed through.

Re: 2018 Criterion Challenge Discussion Thread
 

I watched I Married a Witch and Androcles and the Lion last night. Both were watchable. Witch was sort of cute, but looking at it through 2018 eyes, it's not as charming as it may once have been. Spoilers ahead:



Androcles is billed as a comedy/adventure and it does start off that way before taking a right turn towards very serious towards the end. I enjoyed Alan Young in this. I just wasn't fully sure what the movie wanted to be. A serious movie about Christians in Rome or a comedy like A Funny Thing Happened on the Way to the Forum?

Re: 2018 Criterion Challenge Discussion Thread
 

Digital rights just confuse me. Apple and Amazon have Y Tu Mama Tambien but Vudu and Xbox do not. :shrug:

Re: 2018 Criterion Challenge Discussion Thread
 

After at least 2 years of telling myself that I was going to watch Pan's Labyrinth, I actually did tonight. I have to say that it's probably been my favorite that I've seen so far this challenge and I'm pretty sure it will be for the whole month, though I plan on watching a few more before the challenge is over.

The movie was totally different than the impression I had of it-I had thought it'd be more of a "horror" film but it's really more of a fantasy film that's violent.

It's a beautiful movie. Sometimes I get too involved in the subtitles and forget to watch what else is on the screen, but not this time. The visuals really are stunning. The little girl was really good in the role and the man who played the Captain was a very convincing villain.

The only thing that I would say I disliked would be the violence. Don't get me wrong, I know it's important to the film, but there are about 3 or 4 times where it's just too over-the-top for me. If you've seen the film, I'm sure you could guess what I'm talking about. I have never enjoyed gore and this film, while not glorifying it, does embrace it somewhat. Also, I find that as I get older, I don't have the tolerance for it that I used to.

Anyone else have that happen? Where you used to be able to tolerate something and now, your tastes have changed enough where you can't sit through it anymore at all?

Re: 2018 Criterion Challenge Discussion Thread
 

The violence of Pan's Labyrinth does seem to contrast rather harshly with the fairy tale tone of the rest of the film. But if you want to establish the cruelty of your main villian who doesn't have a ton of screen time, a bit of the ol' untral violence is the way to do it. I don't think I've seen the film since it came out, but If I recall, there's not much of an antagonist in the fantasy scenes.

I'm finally catching up on my watching. This week it's been:

Three Cases of Murder: A nice anthology of supernatural/crime stories.

The Breaking Point: The second adaptation of Hemingway's To Have and Have Not in less than ten years. People complain about all the remakes nowaday, but they were doing it in the 40s.

Chimes at Midnight: I never get tired of Shakespeare, even if I don't always understand it. Pretty impressive battle scenes. John Gielgud was the most enjoyable to watch. Am I wrong, or do a lot of Welles's movies have really terrible ADR?

Child's Pose: This was my first Romanian New Wave film. Definitely felt a bit like a Dogme95. Fantastic lead performance. A mother will do anything to protect her son, but she also blatantly manipulates him and everyone else.

What's Up, Doc?: Not really up to speed on screwball comedies, but this seemed to get it right. Barbara Streisand manages to be likable while playing a rather terrible person. The last line was a great poke in the eye to Love Story.

Hopscotch: Third time I've seen this one. I should probably just buy it at the next B&N sale. Forget those Borne movies. Walter Matthau's the real anti-Bond.

Re: 2018 Criterion Challenge Discussion Thread
 

I finally caught up with Personal Shopper during a Criterion month! :banana:

I didn't know anything about it going in, other than it got a lot of acclaim and had Kristen Stewart. Can't say it was my favorite. It had some interesting stuff, and Stewart was good, but ultimately it left me cold and not that involved.