Detalles

PlayTime 4K UHD + Blu-Ray (US Import)
Criterion

Preventa - Fecha de salida: 10.02.2025

Título original: PlayTime

Año: 1967
Pais: France
Código de región: 4K UHD: A/B/C; Blu-Ray: A
Contenido: 4K UHD + Blu-Ray
EAN: 715515329613

Imagen: 1.78:1 (2160p)

HDR: Dolby Vision / HDR10

Audio: French - 3.0 surround DTS-HD Master Audio

Subtítulos: English

Calificatión por edades: Not Rated

Género: Comedy

Reparto: Jacques Tati, Barbara Dennek

Director: Jacques Tati


Sinopsis:

Jacques Tati’s gloriously choreographed, nearly wordless comedies about confusion in an age of high technology reached their apotheosis with PlayTime. For this monumental achievement, a nearly three-year-long, bank-breaking production, Tati again thrust the lovably old-fashioned Monsieur Hulot, along with a host of other lost souls, into a baffling modern world, this time Paris. With every inch of its superwide frame crammed with hilarity and inventiveness, PlayTime is a lasting record of a modern era tiptoeing on the edge of oblivion.

Extras:

• 4K digital restoration, with 3.0 surround DTS-HD Master Audio soundtrack
• One 4K UHD disc of the film and one Blu-ray with the special features
• Introduction by actor and comedian Terry Jones
• Three selected-scene commentaries, by film historian Philip Kemp, theater director Jérôme Deschamps, and Jacques Tati expert Stéphane Goudet
• Like Home, a visual essay by Goudet
• “Tativille,” a 1967 television program featuring an interview with Tati from the set of PlayTime
• Beyond “PlayTime,” a short documentary featuring behind-the-scenes footage from the production
• Interview with script supervisor Sylvette Baudrot
• Audio interview with Tati from the U.S. debut of PlayTimeat the 1972 San Francisco International Film Festival
• Tati Story, a short film by Goudet on the life and career of Tati
• “Monsieur Hulot’s Work,” a 1976 television program about Tati’s beloved character
• Cours du soir (1967), a short film written by and starring Tati
• Alternate English-language soundtrack
• PLUS: An essay by critic Jonathan Rosenbaum