"This is a weird tie. But A Room with a View was my favorite movie when I was nine. And it really screwed with my head. It’s so over-the-top romantic, and I remember it made me dizzy with desire. I really expected nothing less than Julian Sands in a Tuscan poppy field from my adult romantic life. And Criterion is about to release it . . . I’m really excited about this. Honestly, I haven’t seen it since I was like fifteen, so it’s high time to revisit it. But I’m a little scared to revisit it, too, so I’m pairing it with another about-to-released Criterion movie, Agnes Varda’s Documenteur, which I saw recently at Lincoln Center and really, really loved. Documenteur is this gorgeous, weird portrayal of heartbreak and aimless wandering through a strange city trying to find an apartment. Watching it gets you in touch with all the times you’ve felt horribly depressed and also overwhelmed by the beauty and color of everything around you. It’s kind of about what happens after you get together with Julian Sands and have a kid with him and then you separate and suddenly you’re a single mother wandering around Los Angeles crying."

"Ingmar Bergman’s masterpiece was an international critical and financial success, winning four Oscars. And that was in its truncated, just-over-three-hour version. Included in this set is Bergman’s full version, made for Swedish television. Presented in four parts, it comes in at over five hours, nearly twice as long as the theatrical cut. It’s truly a marvel to behold, intricately detailing every aspect of the lives of the Ekdahl family in turn-of-the-twentieth-century Sweden. As it brilliantly charts a span of several years through the eyes of children, the film is equally detailed with its adult characters’ points of view. Equal parts joyous and tragic. A marvelous and loving tribute to Bergman’s life in the theater. Full of magical realism and stark, painful reality. A meditation on death and a celebration of life. Dickensian in nature (Dickens is said to have been a major influence on Bergman for this film). Truly unlike anything else he ever did. It recalls the great epics of David Lean, which were massive in scope while also being concerned with intimate details of the human condition and its fragility. A masterwork in either version. Watch them both and never be bored for a moment."

"We didn't watch many films in preparation for Teenage because licensing features is incredibly expensive. Also because there weren't that many specifically about youth culture as something different from adult culture. On the other hand there were some significant films that were about the problems of youth that were taken up by the youth audience. One of them is It starring Clara Bow, the original 'It Girl'. Clara Bow is the most amazing screen presence, a huge silent star. She was fantastically sexy but also very alluring. One of those people that just lights up the screen when she's on it. A lot of people thought It was rather scandalous and tried to ban it. In the film she's a working girl but beautiful and cheeky, who marries a rich guy, so it's a classic Hollywood fantasy fulfilment role, one of the first times it was done. There was a whole moral panic about the movie and Clara Bow, so it was very popular amongst kids. There are earlier teenage films like Flaming Youth from 1923, but we don't know if a print still exists, we tried to find one and couldn't. There's a whole phase of college movies from the twenties and they've all disappeared."

"I grew up in a rural area and with four channels on a black and white TV. Birdman of Alcatraz would come on TV, anything with Don Knotts, like The Incredible Mr. Limpet, but Wizard of Oz was a big deal. That movie came on a couple times a year and as a little kid, as all kids are, I was pretty skeeved out by the flying monkeys. But I got past that and just really, really loved the film. I think that I related to the fantastical story as a whole, and also to the idea of being in a rural area and wondering what else is out there — what’s on the other side of the rainbow, so to speak. It was formative. When I was 19, I moved to Austin, Texas, and I went to the Varsity theater — rest in peace, Varsity theater — and saw the movie as an adult. When they’re in Oz and it’s suddenly color, I gasped, because I only had a black and white TV, and in the back of my head I knew the movie turned to color, but I had forgotten. That was a really wonderful surprise. Also, seeing it on a big screen made the movie that much more of a great gift."

"This is a weird tie. But A Room with a View was my favorite movie when I was nine. And it really screwed with my head. It’s so over-the-top romantic, and I remember it made me dizzy with desire. I really expected nothing less than Julian Sands in a Tuscan poppy field from my adult romantic life. And Criterion is about to release it . . . I’m really excited about this. Honestly, I haven’t seen it since I was like fifteen, so it’s high time to revisit it. But I’m a little scared to revisit it, too, so I’m pairing it with another about-to-released Criterion movie, Agnes Varda’s Documenteur, which I saw recently at Lincoln Center and really, really loved. Documenteur is this gorgeous, weird portrayal of heartbreak and aimless wandering through a strange city trying to find an apartment. Watching it gets you in touch with all the times you’ve felt horribly depressed and also overwhelmed by the beauty and color of everything around you. It’s kind of about what happens after you get together with Julian Sands and have a kid with him and then you separate and suddenly you’re a single mother wandering around Los Angeles crying."