Insiang
1976
A savage commentary on the degradations of urban poverty, this tautly constructed character study set in the slums of Manila was the first Philippine film ever to play at Cannes.
30 May 2017
9 Discs
SRP: $124.95
Criterion Store price:$99.96
Established in 2007, The Film Foundation’s World Cinema Project has maintained a passionate commitment to preserving and presenting masterpieces from around the globe, with more than two dozen restorations that have introduced international moviegoers to often-overlooked areas of cinema history. This collector’s set gathers six works, from the Philippines (Insiang), Thailand (Mysterious Object at Noon), Soviet Kazakhstan (Revenge), Brazil (Limite), Turkey (Law of the Border), and Taiwan (Taipei Story). Each title is an essential contribution to the art form and a window onto a distinct filmmaking tradition unfamiliar to many.
1976
A savage commentary on the degradations of urban poverty, this tautly constructed character study set in the slums of Manila was the first Philippine film ever to play at Cannes.
2000
Apichatpong Weerasethakul brought an appetite for experimentation to Thai cinema with his debut feature, an uncategorizable work that refracts documentary impressions of his homeland through the surrealist concept of the exquisite corpse game.
1989
Rigorous and complex, Revenge weaves luminous imagery with inventive narrative elements in an unforgettable meditation on the way trauma is passed down through generations.
1931
An early work of independent Latin American filmmaking, Limite was famously difficult to see for most of the twentieth century. It is a pioneering achievement that continues to captivate with its timeless visual poetry.
1966
Set along the Turkish-Syrian frontier, this terse, elemental tale of smugglers contending with a changing social landscape combines documentary authenticity with a tough, lean poetry.
1985
Edward Yang’s mournful anatomy of a city caught between the past and the present illuminates the precariousness of domestic life and the desperation of Taiwan’s globalized modernity.