"Georges Franju created a one-of-a-kind horror film that moves you more than it scares you. It has some of cinema’s most potent images and a score that haunts you for days. The Criterion extra of his short documentary Blood of the Beasts is spectacular beyond words—beautiful and disturbing in equal measure."

"A lurid mad-scientist drama—scripted by Boileau and Narcejac, also of Diabolique and Vertigo, and filmed by Georges Franju as a mix of surgical surrealism, hyper-graphic horror, raincoated French policier and Cocteau-ish magical romance. Edith Scob drifts through corridors in a blank white mask and a nightgown, and Alida Valli stalks her prey in a Citroën 2CV, accompanied by Maurice Jarre’s shuddery score."

"I can’t believe how the genius of Sacha Guitry is misunderstood outside the borders of France. He is actually one of the most important figures in the history of French cinema, on a par with the greatest. I suspect he has this marginal status because when he started making films—the minute you could record sound—he was already a middle-aged ultra-recognized, ultra-successful figure of the stage. His style owes nothing to the silent era; he is the first French filmmaker, in a long line, who relies on language. But he was of course never content to simply record his own plays; he was obsessed with using the specificities of cinema to transcend them, and in doing so he pioneered a whole new language. Inspired by his wives—first Jacqueline Delubac, then Geneviève Guitry, then Lana Marconi, who most often had the lead—Guitry was the first French writer/director, and possibly the greatest. Désiré is a remarkable film. I wish Criterion would release Le comédien, a portrait of his father, the famous actor Lucien Guitry, and my personal favorite. Another misunderstood French director is Georges Franju, who’s mostly known for Eyes Without a Face but actually the author of a very consistent body of work, including Judex, a quietly disturbing poetic adaptation of Louis Feuillade’s serial."

"I can’t believe how the genius of Sacha Guitry is misunderstood outside the borders of France. He is actually one of the most important figures in the history of French cinema, on a par with the greatest. I suspect he has this marginal status because when he started making films—the minute you could record sound—he was already a middle-aged ultra-recognized, ultra-successful figure of the stage. His style owes nothing to the silent era; he is the first French filmmaker, in a long line, who relies on language. But he was of course never content to simply record his own plays; he was obsessed with using the specificities of cinema to transcend them, and in doing so he pioneered a whole new language. Inspired by his wives—first Jacqueline Delubac, then Geneviève Guitry, then Lana Marconi, who most often had the lead—Guitry was the first French writer/director, and possibly the greatest. Désiré is a remarkable film. I wish Criterion would release Le comédien, a portrait of his father, the famous actor Lucien Guitry, and my personal favorite. Another misunderstood French director is Georges Franju, who’s mostly known for Eyes Without a Face but actually the author of a very consistent body of work, including Judex, a quietly disturbing poetic adaptation of Louis Feuillade’s serial."