Erotic Thrillers: Part 4 – Naughty Nineties

by Cláudio Alves

THE COMFORT OF STRANGERS (1990) Paul Schrader

The last time we checked on the Criterion Channel's Erotic Thrillers collection, it was to consider the voyeuristic properties of late-80s cinema. Moving on to the next decade, let's get over the nineties in one go. During this era, the erotic thriller reached its apotheosis of influence and trashiness, gradually fading into obsolescence as the millennium approached. It was an epoch of Fatal Attraction copycats and prestige-infused sensuality, a final resurgence of neo-noir aspirations, the rise and fall of Joe Eszterhas, Sharon Stone's stardom, and direct-to-video sleaze. Criterion traces these arcs through eleven titles, spotlighting great cinema and irredeemable garbage with the same gusto…

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Almost There: Linda Fiorentino in "The Last Seduction"

by Cláudio Alves

Since last month, the Criterion Channel is offering a collection of neo-noirs, modern films from the 70s onwards that perpetuate the tradition of 1940s and 50s crime pictures. Freer to explore matters of sex and violence, these versions of film noir tend to be more visceral, updating old archetypes into vicious evocations of misanthropic cinema. For actressexuals, the evolution of the femme fatale is especially enticing. From Kathleen Turner's oversexed take on a Phyllis Dietrichson type in Body Heat to Nora Zehetner's mysterious high-schooler in Brick, this immortal character has gone through an infinite myriad of transfigurations. Maybe none of them caused as much hubbub during her awards season as Linda Fiorentino in John Dahl's The Last Seduction…

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In 2020, what is a "theatrical film"?

by Juan Carlos

2020 is the year that altered the face of cinema as we know it. After cinemas closed all over the world, films were either delayed or released in modified platforms like virtual cinemas and VOD. Indoor gathering restrictions also led to a resurgence of drive-in theaters. Meanwhile, streaming became an even more vital way for films to reach audiences. Platforms like Netflix, Amazon, and Hulu all have Oscar contenders this season.

This shift in movie-watching was further validated by the Academy’s decision earlier this year to allow films released via streaming and VOD to be eligible for the Academy Awards, provided that they were previously intended for theatrical release and that they will be available in the Academy Screening Room. This amendment to the eligibility rules is major, especially given the Academy’s previous adherence to the traditional definition of what a “theatrical film” is. Pre-COVID eligibility rules state that...

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