"It’s like a weird musical. That is actually one of Christopher’s favorite movies that he did, unlike the last one. It was not a very successful movie when it came out but it’s really quite a hypnotic and amazing film I think. It’s like a weird dream. Some of these films I can’t kind of watch over, because they play in your mind like a dream. It reminds me of growing up in Burbank. Things are quite normal on the surface but underneath they’re not quite what they seem. I found this film to be such a strange mixture; the elements are very odd."

"I love that Criterion not only focuses on the classic work of the Fellinis, the Bergmans and the Kurosawas of film history but also gives attention to controversial, camp, and cult films like Salò, Head, Beyond the Valley of the Dolls, and Pink Flamingos. And none is more strangely perfect than House. One of the most beautifully strange and original films I’ve ever seen. Almost like a psychedelic, live-action Japanese version of an episode of Teletubbies, H.R. Pufnstuf, or Scooby-Doo. The fact that both this and Eraserhead came out in the same year leads me to believe there were some really good drugs floating around in 1977."

"Luchino Visconti never made a mediocre film and his masterpieces reach the heights of cinema. The Damned, at once illustrious and a little forgotten, is definitely one of his greatest and most misunderstood. This strange mash-up of Buddenbrooks and Macbeth is a film noir, deranged and of a profound audacity in its treatment of what burned at the heart of Weimar Germany and the era’s capitalist system. Of an incredible originality and daring for the industry of the time, it paved the way for the entirety of Fassbinder's work and without it Pasolini's Salò (which was heavily inspired by this film) would have been impossible."