On Thursday, the Criterion Channel has joined the likes of A24 and Bad Robot in coming out to help support the fight against systemic racism, as well as advocate police reform and support for protestors throughout the United States, according to IndieWire. In an email from Criterion president Peter Becker and CEO Jonathan Turell, the company announced a $25,000 initial contribution, in addition to an ongoing $5,000 monthly donation, to organizations that back Black Lives Matter. Criterion will also lift the paywall on titles from Black filmmakers and white documentarians who have captured the Black experience, available on their homepage.
Beginning August 16, Criterion Channel will spotlight eleven films Barbara Stanwyck made between 1930 and 1934 before Hays Code-era restrictions censored the silver screen, according to Fox News. Imogen Sara Smith, the historian hosting the marathon, says Stanwyck (born Ruby Stevens in 1907 Brooklyn) was orphaned at the age of four, dropped out of school as a thirteen-year-old, performed for speakeasies at fifteen, became a Broadway star five years later, and found work in Hollywood in 1929. The actress did not retire until her late seventies, with more than eighty movie and television credits to her name when she died from congestive heart failure in 1990.
After debuting last month, Criterion Channel offers over a thousand titles from the Criterion Collection as well as distributor Janus Films for eleven dollars a month, according to Fortune; the archive is relatively small, but there are more Golden Age movies than on Netflix, which largely limits itself to the last twenty-five years, and Amazon Prime, which charges members extra to watch older pictures. Reviewer Lance Whitney writes that Criterion includes a diversity of silent, sound, short, feature-length, international, and independent releases from Sony Pictures, Warner Brothers, Paramount, MGM, Lionsgate, and IFC Films; while the likes of Orson Welles’s Citizen Kane (1941), Michael Curtiz’s Casablanca (1942), or Sir Alfred Hitchcock’s American classics are not yet part of the selection, the library will grow if more studios sign licensing deals. Overall, Whitney’s review is positive, praising special features such as interviews, documentaries, and collections; however, while the fledgling streaming service is compatible with all browsers, some available texts are only searchable on the website.