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Exclusive: The Kinoteka Polish Film Festival has set the lineup for its 23rd edition, running from March 6 to April 26 at venues across London.

The festival will open at the BFI Southbank with a screening of Under the Volcano (Pod wulkanem) from filmmaker Damian Kocur. The pic is Kocur’s second feature following Bread and Salt, which opened Kinoteka in 2023. Arriving at the festival following screenings at Toronto and Lff, the film follows a Ukrainian family on holiday in Tenerife who struggles to reconcile their new status as refugees following the Russian invasion.

Following past retrospectives on celebrated Polish directors such as Andrzej Wajda and Jerzy Skolimowski, Kinoteka will once again host a widescale retrospective, this year focused on the work of Wojciech Has in collaboration with BFI Southbank and the Ica. As part of the retrospective, the festival’s closing gala on April 26 at the Ica will be a screening...

Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSLeviathan.A Russian court has sentenced the Ukrainian-born film producer Alexander Rodnyansky to eight and a half years in prison in absentia for anti-war statements, which the state characterizes as “fakes” motivated by “political hatred.”The documentary Undercover: Exposing the Far Right was pulled on short notice from the BFI London Film Festival due to safety concerns for staff and audience members, though it is not clear if a credible threat was made.Thousands of artists from across the cultural industry have signed a statement to artificial-intelligence companies, which reads in its entirety: “The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted.

José Donoso’s The Obscene Bird of Night is a monument of vulgarity and erudition, perfused by an eerie air of alluring, unsettling ambiguity. An intensely oneiric work, it was originally published in 1970 and is now being released in a new unabridged translation by Megan McDowell for New Directions that constitutes a major literary event.

Donoso’s novel attempts to give decisive language to the ineffable. It’s the progeny of Borges, its language as technically adroit and stunning as Gabriel García Márquez’s. But instead of lovely, tragic lyricism, Donoso spins wicked sentences, suggesting a corruption of Marquez’s romanticism.

The Obscene Bird of Night is defined by its unexpected swoops into surrealism and litany of exciting developments and imagery. The ridiculous isn’t rendered believable, as Donoso’s prose is governed by the logic of a realm that exists only in the mind of our ever-ruminating, ever-rambling, and quite unreliable narrator,...

Once more, and with feeling…

Roxy Cinema

Our 35mm print of Bertrand Bonello’s House of Tolerance has a final screening on Sunday; Spike Lee’s He Got Game and Hoosiers play on prints, while Blonde Ambition screens this Sunday.

Anthology Film Archives

The films of Med Hondo play in a massive retrospective.

Film Forum

Hondo’s West Indies begins screening in a 4K restoration; the Belmondo-led Classe tous risques begins playing in a new 4K restoration; Buster Keaton’s The Cameraman plays with live music on Sunday.

Film at Lincoln Center

The films of Wojciech Has are highlighted in a new series.

Paris Theater

A new retrospective shows just how incredible a year 1974 was: Chinatown, Badlands, Amarcord, California Split, The Conversation, Kiarostami’s The Traveler and more screen, many on 35mm.

Museum of the Moving Image

The Red Shoes screens on Saturday and Sunday.

Museum of Modern Art

The...

The Noose.The first scene in Wojciech Has’s filmography belongs to an accordion. The instrument is shown in a contracted state, dangling from the ceiling of an antique shop. Outside the shop, a little boy ogles it through the window; he dreams of playing it. Later in Has’s debut fiction short, Harmonia (1947), he dramatizes that dream. Has’s understanding of cinema as an oneiric canvas is apparent from the very beginning, and his sense that its narratives were meant to trip over themselves through elisions, reversals, and collapses reinforced itself throughout his career. His films are frequently in a state of mutation and his characters always on introspective journeys; objects are the only constant, as their material weight exhibits more solidity than his stories’ whims or his characters’ souls. All the while, Has’s camera acts like an accordion, playing in its own time, starting wide and pushing...

The Notebook is covering Tiff with an on-going correspondence between critics Fernando F. Croce, Kelley Dong, and editor Daniel Kasman.The Painted BirdDear Kelley and Fern,Leonardo has already written on Václav Marhoul’s sprawling and undeniably uncomfortable The Painted Bird, but since I know neither of you are seeing it, I wanted to expand a bit more on this picaresque of human suffering. Based on the 1965 novel by Polish writer Jerzy Kosiński (who also wrote Being There), it episodically shuttles an orphaned boy from person to person around an unnamed Eastern European countryside of such provincial poverty it might as well be pre-industrial. We see a Luftwaffe scout plane early on, yet the deliberately measured effect of Marhoul’s decidedly relaxed storytelling is that of slowly pushing this boy from an older, nearly medieval past of superstition, into a Christian community, then into the Second War World and a key post-war coda.

It’s fitting that Amin Sidi-Boumédiène uses songs from drone metal band Asva’s “Presences of Absences” album in his feature debut, “Abou Leila,” given how the film feeds on ambiguous presences and unexplained absences. Designed to evoke the sense of violence both real and existential that permeated every part of Algeria during the bloody civil war of the 1990s, this punishing sensorial cri de coeur dispenses with traditional narrative to create a segmented surrealist drama whose roots appear to stem from Michelangelo Antonioni and Wojciech Has, though quite possibly may owe nothing to either one. Impressive in how thoroughly it’s steeped in a miasma of paranoia and fear, this perversely impenetrable patience-tester will find champions only in the most esoteric cinema circles.

It would be wrong however to dismiss “Abou Leila” as all form and no substance: The haunted faces and nightmarish hallucinations reproduce a constant state of...

Shock looks at the Blu-ray release of 1973 Polish surrealist film The Hourglass Sanatorium. Cannes Special Jury Award Winner The Hourglass Sanatorium is a journey within a jaunt perpendicular to a peregrination and overlapped with a transmigration; Wojciech Has’ sumptuous adaptation of the works of Polish writer Bruno Schulz results in a strongly visualized odyssey…

The post Review: Polish Mind-Bender The Hourglass Sanatorium on Blu-ray appeared first on Shock Till You Drop.

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Museum of the Moving Image

Several more titles play in the Museum’s excellent Maurice Pialat retrospective. Read more about his work here.

Wiseman‘s Model and Central Park show on Saturday and Sunday, respectively.

Anthology Film Archives

Olivier Assayas‘s Irma Vep and its central inspiration, Louis Feuillade‘s eight-hour Les Vampires, play on Friday and Saturday & Sunday,...

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Museum of the Moving Image

A retrospective covering the career of Maurice Pialat begins on Friday. His debut feature, The Naked Childhood, will be the first screening, and several others will show over the next few days.

La Ciudad screens on Saturday.

Nitehawk Cinema

Rebels of the Neon God plays at midnight.

“Halloween at Nitehawk” brings Re-Animator and the 1931 Dr.

The Waking Dreams of Wojciech Has, a retrospective of 14 films including The Hourglass Sanatorium and The Saragossa Manuscript, opens today at BAMcinématek and runs through October 27. Also in New York, the Japan Society will be screening three new restorations of films by Kon Ichikawa this weekend and, next week, Film Forum presents John Waters's Polyester in glorious Odorama. More goings on: A Jean Grémillon retrospective in Los Angeles, an evening of short films by Curtis Harrington in Nashville and a discussion of John Berger’s life and work in London. » - David Hudson...

The Waking Dreams of Wojciech Has, a retrospective of 14 films including The Hourglass Sanatorium and The Saragossa Manuscript, opens today at BAMcinématek and runs through October 27. Also in New York, the Japan Society will be screening three new restorations of films by Kon Ichikawa this weekend and, next week, Film Forum presents John Waters's Polyester in glorious Odorama. More goings on: A Jean Grémillon retrospective in Los Angeles, an evening of short films by Curtis Harrington in Nashville and a discussion of John Berger’s life and work in London. » - David Hudson...

Above: Franciszek Starowieyski’s 1970 poster for Mademoiselle (Tony Richardson, UK/France, 1966).In Christopher Nolan’s new short film about the Quay Brothers (titled—with Nolan’s predilection for mono-nomenclature—simply Quay) he gives us a clue to some of the twin animators’ influences in the film’s opening shots. After drawing back the curtains in their curiosity shop of a studio, Timothy Quay opens a glass cupboard to remove a book. Blink and you’ll miss it, but on the shelves are books on Marcel Duchamp, Spanish sculptor Juan Muñoz, Czech artists Jan Zrzavy, Vlastislav Hofman and Jindrich Heisler, and—most prominently—a book on Polish artist Franciszek Starowieyski.I wrote a few years ago about the Quays’ love of Polish film posters and Franciszek Starowieyski (1930-2009) is one of the indisputable later masters of the Polish school. From the mid 50s until the late 80s he produced some 100 film...

Two classic films from legendary Polish director Wojciech Has are making their UK debut on Blu-ray next month thanks to Mr Bongo Films. Has’ The Saragossa Manuscript and The Hourglass Sanatorium get the high-def treatment in their fully restored versions… Continue Reading →

The post Mr Bongo Releasing The Saragossa Manuscript and The Hourglass Sanatorium on UK Blu-ray This Fall appeared first on Dread Central.

★★★★☆ There's a conversation in Wojciech Jerzy Has' hallucinatory picaresque epic, The Saragossa Manuscript (1965), in which a character utters the following words, "if I don't understand but I can write it down, I approach poetry." This could well be the filmmaker imparting wisdom through the mouth of his character, or perhaps comfort to the critic who will go slowly insane attempting to convey the plot. Insanity may or may not play a major part in proceedings depending on your point of view, but either way Has' Matryoshka narrative envelopes you even as it confounds. It begins with a pair of soldiers happening upon a dusty tome in an abandoned building in Saragossa during the Napoleonic War.

★★★★★ Wojciech Jerzy Has took great relish in toying with narrative convention in the nestled labyrinthine pages of The Saragossa Manuscript (1965). He dispenses with it entirely in The Hourglass Sanatorium (1973), an oneiric odyssey through the cob-webbed recesses of memory and into the great beyond. Jan Nowicki plays Josef, who is first introduced on a decrepit old train where his Charon-like conductor encourages him to alight and make his way through a cemetery to the titular institution in which his pa resides. Once he gets there, recollections of his childhood and his father are grotesquely contorted into disconcerting fantasy with surreal majesty.

★★★★☆ With the fires of the Second World War still smouldering European cinema rose from the embers across the continent. At one time such resurgence took place through the Polish Film School, a movement intended to make films that would help their country come to terms with the war and all that had happened within her borders. Directors such as the colossal Andrzej Wajda, Jerzy Kawalerowicz and Wojciech Jerzy Has made films that sought to express the deep ramifications of the conflict and deconstruct national myths that they felt hindered healing. Notions of heroism are firmly in the sights of Andrzej Munk with his pitch black satire, Eroica (1958).

In the latest quick roundup on goings on here and there, we have a bit more on Afrofuturism at BAMcinématek. Plus: an evening with Luther Price, a chat with Julie Dash about La Rebellion: Creating a New Black Cinema, a series at London's Tate Modern, an overview of Kinoteka, London's 13th Polish Film Festival, featuring work by Andrzej Wajda, Krzysztof Kieślowski, Jerzy Stuhr, Wojciech Has, Krzysztof Zanussi and many others, plus an Alain Resnais retrospective in Barcelona. » - David Hudson...

In the latest quick roundup on goings on here and there, we have a bit more on Afrofuturism at BAMcinématek. Plus: an evening with Luther Price, a chat with Julie Dash about La Rebellion: Creating a New Black Cinema, a series at London's Tate Modern, an overview of Kinoteka, London's 13th Polish Film Festival, featuring work by Andrzej Wajda, Krzysztof Kieślowski, Jerzy Stuhr, Wojciech Has, Krzysztof Zanussi and many others, plus an Alain Resnais retrospective in Barcelona. » - David Hudson...

MoMA's retrospective Nelson Pereira dos Santos: Politics and Passion opens today and runs through April 17. Aaron Cutler has a quick primer on the Brazilian filmmaker in Artforum. More goings on: Barbara Stanwyck in Nashville, Wojciech Jerzy Has and Ben Rivers at Harvard, Paul Clipson and more experimental film at Crossroads in San Francisco, Paolo Gioli in New York and, in Los Angeles, Sam Fuller's cut of Dead Pigeon on Beethoven Street, screening with his daughter's documentary on him, A Fuller Life. » - David Hudson...

MoMA's retrospective Nelson Pereira dos Santos: Politics and Passion opens today and runs through April 17. Aaron Cutler has a quick primer on the Brazilian filmmaker in Artforum. More goings on: Barbara Stanwyck in Nashville, Wojciech Jerzy Has and Ben Rivers at Harvard, Paul Clipson and more experimental film at Crossroads in San Francisco, Paolo Gioli in New York and, in Los Angeles, Sam Fuller's cut of Dead Pigeon on Beethoven Street, screening with his daughter's documentary on him, A Fuller Life. » - David Hudson...

Post-Nearly Press has released two book-length interviews with Iain Sinclair and Chris Petit. Also in today's roundup of news and views: A review of and two excerpts from Alejandro Jodorowsky’s fantasmagorical memoir, Where the Bird Sings Best; the Quietus on Wojciech Has's The Saragossa Manuscript; an oral history of Susan Seidelman's Desperately Seeking Susan at 30; Paul Thomas Anderson's conversation with Jonathan Demme; more interviews with feminist filmmaker Vivienne Dick, Wim Wenders, Errol Morris, Noah Baumbach and David Zellner; the New York Times on cinematographer Gabriel Figueroa—and more. » - David Hudson...

Post-Nearly Press has released two book-length interviews with Iain Sinclair and Chris Petit. Also in today's roundup of news and views: A review of and two excerpts from Alejandro Jodorowsky’s fantasmagorical memoir, Where the Bird Sings Best; the Quietus on Wojciech Has's The Saragossa Manuscript; an oral history of Susan Seidelman's Desperately Seeking Susan at 30; Paul Thomas Anderson's conversation with Jonathan Demme; more interviews with feminist filmmaker Vivienne Dick, Wim Wenders, Errol Morris, Noah Baumbach and David Zellner; the New York Times on cinematographer Gabriel Figueroa—and more. » - David Hudson...

 

With Fantastic Fest taking over the Alamo Drafthouse South Lamar for the next week, not nearly as many specialty screenings as usual are going on in town. You will not, however, notice a lack of new releases in area theaters. I'll track those down below, but first I'll take a look at what is going on across town if you aren't engaging with the fest. 

On Tuesday, the Austin Film Society will be screening Antonioni's 1966 mod classic Blow Up at the Marchesa. This special evening includes a 60s themed cocktail hour starting at 6:30 pm, complete with a "complimentary 60s themed hair and nail bar" courtesy of the Aveda Institute. The film will be introduced by Ned Rifkin at 7:30 pm. Bonus: if you show up dressed in your favorite 60s clothes, you may win a prize for the evening.

The Afs Screening Room is the place to be on...

Above: a Polish poster by Waldemar Swierzy for Mother Joan of the Angels (Jerzy Kawalerowicz, Poland, 1961).

Starting next Wednesday, New York’s Film Society of Lincoln Center, in association with Milestone Films, will kick off "Martin Scorsese presents Masterpieces of Polish Cinema," a must-see 21-film retrospective that will eventually tour the U.S. and Canada.

To accompany the series, Posteritati is mounting an exhibition in Lincoln Center of original Polish posters for most of the films in the series: a rare chance to see some of these masterpieces in the flesh. Where the film series highlights great auteurs like Andrzej Wajda, Krzysztof Zanussi, Wojciech Has and Krzysztof Kieslowski, the exhibition will feature their equivalents in graphic design such as Wojciech Fangor, Franciszek Starowieyski, Roman Cieślewicz, Andrzej Pągowski and Waldemar Świerzy. For those of you who can’t be in New York to see the show, I will be posting some...

Scottish author James Hogg's 1824 novel The Private Memoirs and Confessions of a Justified Sinner, a kind of religious satire/polemic crossed with a doppelganger tale and a forerunner of the plot twists of both Dr. Jekyll and Mr. Hyde and Fight Club, ends with a curse against anyone tampering with its text.

In 1988, celebrated Scots filmmaker Bill Douglas prepared a screenplay adaptation, but died before he could get it made. I was present when the producer suggested it as a suitable project for Lindsay Anderson to take over, but Anderson himself died not long afterwards. A fresh script has recently been created by crime writer Ian Rankin and James Mavor, but has yet to go before the cameras. Those involved are advised to beware falling objects, shadowy assassins, sudden illnesses.

But in 1985, Polish director Wojciech Has created his own version, Osobisty pamietnik grzesznika przez niego samego spisany, known more...

Above: Japanese poster for Zero Dark Thirty (Kathryn Bigelow, USA, 2012); Designer: unknown.

Since I’ve now been running the Movie Poster of the Day Tumblr for a year and a half I thought it was high time I did another six month round-up of the most popular posters on the blog.

For some reason this Japanese poster for Zero Dark Thirty—an even more striking version of the American teaser—which I posted three months ago recently went semi-viral, racking up over 1,400 “notes” to date, making it by far the most popular (in as far as likes and reblogs really gauge popularity) in the history of the blog which now has, according to Tumblr, over 198,000 followers.

I’m especially pleased with the popularity of the second and third ranked posters: a couple of quite eccentric pieces of Eastern European illustration for lesser known films. It’s probably no surprise that...

★★★☆☆ Time behaves in unpredictable ways, notions of reality and fantasy collapse and painful personal and national histories are examined in two films by Polish director Wojciech Jerzy Has, The Hourglass Sanatorium (1973) and The Saragossa Manuscript (1964). Both films are based on works of literature; the latter from Jan Potocki's historical novel The Manuscript Found in Saragossa and the former drawn from several short story collections by Bruno Schulz, most notably Sanatorium Under the Sign of the Hourglass.

Read more »...

Director: Sergei Loznitsa Writer: Sergei Loznitsa Starring: Viktor Nemets, Vladimir Golovin, Olga Shuvalova, Dmitriy Gotsdiner, Aleksey Vertkov A prologue reveals a lifeless human body as it is tossed into a hole and promptly buried in cement and dirt. With this short opening sequence it becomes bitingly obvious that the joyful title of Russian writer-director Sergei Loznitsa's film is intended to reek of cynicism and irony. Soon thereafter we meet Georgy (Viktor Nemets); he is our truck driving guide across a dilapidated and somewhat foreboding Russian landscape. As if trapped in a surrealist nightmare, Georgy is constantly delayed and/or detoured from delivering his cargo of flour to its destination. This, however, allows the extremely affable Georgy ample opportunity to fraternize with some shady check-point security officers, a couple of mischievous thieves, a teenage prostitute (Olga Shuvalova), and an elderly wanderer (Vladimir Golovin) who hijacks the narrative (ala Wojciech Has...

The short-film showcase proves that Polish documentaries are in rude health as film-makers explore their own history

Recently on this site, Mark Lawson questioned the health of the documentary, hoping that "traditional observational or historical documentaries still exist". In the former eastern bloc countries, where metaphorical writing was the only way of bamboozling the censors, the genre is not just existing, but thriving, for now there is the opportunity (and information) to tell it as it is, and was. In doing so, the documentary form is being revitalised.

Last week, the 51st Kraków film festival, devoted entirely to short films and documentaries, screened 223 films, including 132 documentaries. Hosted in the beautiful Polish city, the festival was staged in four cinemas themselves revealing something of the country's history: the Kino Pod Baranami, which won the 2009 best programming award (Europa cinemas) and is housed in the upper floors of a gothic palace in...

Christmas has a hell of a PR agent. A good PR maximises the audience for their client, always looking for lateral markets beyond the core appeal of the product. So if Christmas is fundamentally about giving, goodwill and forgiveness, there's no harm - from a PR's point of view - if it can also be made to be about sex, death and loneliness too. We seem to have had our traditional - and always sad - fusillade of pre-Christmas celebrity deaths this year, and if we're lucky, the period between now and new year will bring no new and nasty surprises in that line.

In the meantime our TV screens have filled up customarily with ads for perfume and booze which remind us that Christmas is also a Pagan-style locus for celebrations of the carnal and sensory. And with campaigns targeted at those who have no invite to the celebrations...

When a fat, vulgar and none-too-bright butcher glimpses the woman of his dreams, the lovely Mei who conjures visions of peach blossoms and naughty sex, there is nothing that is going to stop him from making her his own, or shouting about it at full volume.  She is queen and seemingly unreachable at the towns upscale brothel.  Mocked even by his own friend for his crass boldness, our Butcher is smitten to the point where class, looks, money, a full-blown rap number from the brothel matron are not deterrents. But then there is the vicious sword-wielding thug appropriately named "Big Beard" who seems invincible and intent on humiliating our 'hero' by carving a pig tattoo on his chest with rapid flicks of his blade. But luck favours the plump blow-hard in the form of a vengeful chef who wanders in town with an invincible cleaver forged from the melted down...

Polish film star forced into exile by the communist authorities

By the mid-1960s Elzbieta Czyzewska, who has died aged 72, was considered one of the brightest stars of film, theatre and television in Poland. However, she became persona non grata in her own country, only a few months after she was celebrated as the "pride of her generation" on the cover of a Polish magazine.

In 1965 she was appearing in a Warsaw production of Arthur Miller's autobiographical play After the Fall, in the role apparently based on Marilyn Monroe. In the audience was the American journalist David Halberstam, a correspondent for the New York Times, who had interviewed Czyzewska the day before. The pair married that year but Halberstam was expelled from Poland by the authorities for writing articles that criticised the communist regime. The government also condemned Czyzewska for marrying a "Zionist intellectual", and she left to join...

The Movie Club Podcast [1] is an irregular roundtable podcast where we select two movies to dissect, analyze and discuss with a group of fellow movie bloggers and film fans. After a three month break, we are finally ready to release the latest episode of The Movie Club Podcast into the wild. This time around we have once again reconvened with our friends from Row Three [2] and Where The Long Tail Ends [3] to talk about two movies that feature "stories within a story"... or something like that. The films in question are Tarsem's The Fall and Wojciech Has' The Saragossa Manuscript. The latter is a little bit tricky to track down, but it's important to note that we watched the three-hour version, not one of the edited cuts. Either way, the surreal visions presented by both films make for some spirited discussion; we hope you'll listen and then jump in with your own comments.

The Movie Club Podcast [1] is a bi-monthly roundtable podcast where we select two movies to dissect, analyze and discuss with a group of fellow movie bloggers and film fans. Will wonders never cease... another episode of The Movie Club Podcast is in the can and on time for once. Clearly this is cause for celebration! As always we have gathered with our friends from Row Three [2] and Twitch [3] to talk about a couple of films by two filmmakers who are quite well-acquainted: Errol Morris and Werner Herzog. In some ways their movies and personalities are polar opposites, but on the other hand they definitely share a lot of common ground. The Thin Blue Line is a 1988 documentary about a murder in Dallas County, Texas that resulted in a conviction being overturned. Stroszek is a 1977 film about a man in Germany who gets out of prison and decides to move to...

• Thursday April 3rd:. NYC: Big visitor in town. Museum of the Moving Image suggests An Evening With Wong Kar-wai moderated by curator David Schwartz. Wkw talks about his NYC-set My Blueberry Nights. 7:00 p.m. Friday April 4th:. Carter Smith's directorial debut comes in the form of The Ruins. Dreamworks releases this horror pic wide. Saturday April 5th:. Pick your import night: Israel (Jellyfish) China (Tuya's Marriage) or France (Water Lilies). Sunday April 6th:. Screwball Sunday. Perhaps give George Clooney's Leatherheads a try. Monday April 7th:. Brooklyn, NY: What is a favorite film of Martin Scorsese, Jerry Garcia, and Luis Buñuel? 1965's three hour Polish film from Wojciech Has' The Saragossa Manuscript (Rekopis znaleziony w Saragossie) is at the Bam. Click here for screening times. Tuesday April 8th:. DVD: I. Drink.Your.... Paul Thomas Anderson's masterpiece There Will Be Blood (Two-Disc Special Collector's Edition) gets released.

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