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The Criterion Collection, a beloved film distribution company, was questioned by cinephiles this week because of their new deluxe box set.
To give you some background, Criterion focuses on preserving, restoring, and distributing films, particularly those deemed culturally significant or unsung. They sell DVDs and Blu-rays that often include special features alongside thoughtfully designed booklets featuring essays by critics and creatives. In 2019, they launched the Criterion Channel, a streaming service, which features many of the films in their catalog. Movie fans lust over the beautiful aesthetic of their products and closely follow their new releases.
Last week, Criterion announced a new collection, called CC40, which includes a box set of forty films. The films were chosen based on popular picks in their Criterion Closet series, in which actors and filmmakers choose five films from their film library to take home with them. The box set, which also includes “hundreds of hours of supplemental footage,” retails for $640, and arrives in November.
Reactions from Criterion fans varied. On the positive side, some suggested this could be a great resource for those looking to get into film, the box set serving as a film syllabus of sorts. Others noted this could be a good product for those who don’t know which films to watch or buy, as the choice has already been made for them. Some were simply excited by the news of a new Criterion release.
Many others were less than thrilled. The most common question asked by Criterion-heads was: “who is the audience for this box set?” Cinephiles noted that dedicated Criterion fans are likely to already own many of the films in the box set, while newcomers might not be inclined to drop $600 on movies if they’re just getting into film. “This is an incredible set for someone who has never bought a Criterion disc but now wants to spend several hundred dollars on them at once,” one user joked on X.
Others questioned the content of the box set. Many were shocked to see that none of David Lynch’s films were included in the collection, and legendary Japanese filmmaker Akira Kurosawa was another omission bemoaned by fans. Some suggested that the curation of the collection seems “random,” noting that there appears to be little connection between the films.
Much of this criticism comes down to the question of audience, and how this collection might shift Criterion’s intended market. There is a sense of gatekeeping here in terms of who can—or should—get to own Criterions. “Feel like this set is for people who never heard of the Criterion Collection until their favorite celebrity did a closet video,” one X user noted, delineating a distinction between cinephile and celebrity stan. On Instagram, one user suggested the box set is intended for holiday shoppers, perhaps answering the marketing question.
These debates beg the question: what does Criterion represent to cinema fans? The aesthetic element of their products shouldn’t be overlooked, as that is a significant part of their appeal. Buying Criterions is also a way to illustrate one’s (good) taste, and for dedicated cinephiles, there is a sense of satisfaction in building one’s catalog. Cinema fans—those who care about the art form as much as individual films—tend to be committed to preserving physical media, a mission that aligns with that of Criterion’s.
What many of these fans seem to be upset by is the notion that Criterion is trying to expand their audience, subsequently leaving their core demographic behind. The company has often worked to balance their commitment to “serious” film preservation while still appealing to the masses, a project illustrated by their more lighthearted presence online. Their Criterion Closet series is their most popular social media enterprise, as it appeals to both pop culture stans and film connoisseurs. The 40-film box set attempts to appeal to both camps, but fans aren’t optimistic about its success.
Why it matters
Consumerism often functions as an arbiter of taste, and Criterion has smartly capitalized on this association. Despite their success in creating a beloved, highly marketable brand, some cinephiles see this box set as a step in the wrong direction—more of a craven capitalistic enterprise than an effort to uplift the art form.
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