Out 1 (1971)
Mystery, Drama • 12h 9m
Overview
While two theater groups rehearse plays by Aeschylus, two solitary individuals wander the Parisian streets hustling the populace for cash.
Director: Jacques Rivette
Cast: Juliet Berto, Jean-Pierre Léaud, Michèle Moretti, Hermine Karagheuz, Karen Puig, Pierre Baillot, Marcel Bozonnet, Michael Lonsdale, Sylvain Corthay, Edwine Moatti, Bernadette Onfroy, Monique Clément, Gérard Martin, Gilette Barbier, Jean-Pierre Bastid, Urbain Dia Mokouri, Jacques Prayer, Michel Berto, Michel Delahaye, Bernard Eisenschitz, Pierre Cottrell, Louis Julien, Brigitte Roüan, Françoise Fabian, Éric Rohmer, Christian de Tillière, Patrick Hec, Bulle Ogier, René Biaggi, Jérôme Richard, Barbet Schroeder, Jean-François Stévenin, Bernadette Lafont, Guillaume Schiffman, André Julien, Christiane Corthay, Marc Chapiteau, Alain Libolt, Jacques Doniol-Valcroze, Ode Bitton, Jean Bouise, Marie-Paule André, Mathieu Schiffman, Lorraine Santoni, Michèle Khan, Stéphane Tchalgadjieff, Michel Chanderli, Jean-Claude Valezy
Director: Jacques Tati
2014 StudioCanal Blu-ray
The UHD is slightly cropped in.
Director: Jacques Tati
2014 StudioCanal Blu-ray
The UHD is slightly cropped in.
Director: Andrei Tarkovsky
Mosfilm official 4K Youtube Streaming is the only release for the new 4K restoration. Mosfilm's release has no sepia, and whether or not if this is the original color grading is still under debate.
For other releases: Netherlands Lumière Blu-ray is best, but all releases of the 2K restoration have issues:
German Filmjuwelen 4K Blu-ray is 2K upscale and has incorrectly pitched Russian audio. See caps
Criterion Blu-ray/Germany Filmjuwelen Blu-ray have yellow tint on sepia scenes
France Potemkine (Standalone) has raised blacks and poor encoding
France Potemkine (Boxset) has orange tint on sepia scenes and poor encoding
Netherlands Lumière has correct sepia scenes, good encode, but gamma is slightly off.
Italy General Video Recording has correct sepia scenes but gamma is off (more so than Netherlands Blu-ray and worse encode)
Director: Andrei Tarkovsky
Mosfilm official 4K Youtube Streaming is the only release for the new 4K restoration. Mosfilm's release has no sepia, and whether or not if this is the original color grading is still under debate.
For other releases: Netherlands Lumière Blu-ray is best, but all releases of the 2K restoration have issues:
German Filmjuwelen 4K Blu-ray is 2K upscale and has incorrectly pitched Russian audio. See caps
Criterion Blu-ray/Germany Filmjuwelen Blu-ray have yellow tint on sepia scenes
France Potemkine (Standalone) has raised blacks and poor encoding
France Potemkine (Boxset) has orange tint on sepia scenes and poor encoding
Netherlands Lumière has correct sepia scenes, good encode, but gamma is slightly off.
Italy General Video Recording has correct sepia scenes but gamma is off (more so than Netherlands Blu-ray and worse encode)
Director: Béla Tarr
Curzon 4K Blu-ray see caps
Director: Béla Tarr
Curzon 4K Blu-ray see caps
Artificial Eye UK Blu-ray? Supposed to have better translation than Criterion.
Curzon 4K Blu-ray scheduled for October 2026 release
Artificial Eye UK Blu-ray? Supposed to have better translation than Criterion.
Curzon 4K Blu-ray scheduled for October 2026 release
Director: Jean-Luc Godard
2020 Criterion
2020 Criterion > StudioCanal > 2009 Criterion
2007 StudioCanal DVD
Director: Jean-Luc Godard
2020 Criterion
2020 Criterion > StudioCanal > 2009 Criterion
2007 StudioCanal DVD
Director: Jean-Luc Godard
Criterion 4K Blu-ray/2020 remastered StudioCanal Blu-ray (preference)
Criterion 4K Blu-ray > StudioCanal 4K Blu-ray. The HDR grading has messed up highlights, so some may prefer the 2020 remastered StudioCanal Blu-ray
Criterion's subtitles seem to be better than StudioCanal's which omits too much IMO.
Director: Jean-Luc Godard
Criterion 4K Blu-ray/2020 remastered StudioCanal Blu-ray (preference)
Criterion 4K Blu-ray > StudioCanal 4K Blu-ray. The HDR grading has messed up highlights, so some may prefer the 2020 remastered StudioCanal Blu-ray
Criterion's subtitles seem to be better than StudioCanal's which omits too much IMO.
Director: John Ford
1988/1990 WB Hi-Fi VHS, crystal clear, albeit with some distortion in louder areas
The 4K Blu-ray reuses the same poor mastering used on the 2006 WB Blu-ray, only with a completely unnecessary bass cut and extra noise reduction.
Even putting resolution aside, the Warner Archive 4K Blu-ray has the best video. The old Blu-ray master and earlier DVD both had massive issues with colour.
That said, picture on the 4K Blu-ray isn't perfect, with strange posterized magenta glints and some instances of DNR: https://bsky.app/profile/dagscott.bsky.social/post/3leahavqi7k2l
Director: John Ford
1988/1990 WB Hi-Fi VHS, crystal clear, albeit with some distortion in louder areas
The 4K Blu-ray reuses the same poor mastering used on the 2006 WB Blu-ray, only with a completely unnecessary bass cut and extra noise reduction.
Even putting resolution aside, the Warner Archive 4K Blu-ray has the best video. The old Blu-ray master and earlier DVD both had massive issues with colour.
That said, picture on the 4K Blu-ray isn't perfect, with strange posterized magenta glints and some instances of DNR: https://bsky.app/profile/dagscott.bsky.social/post/3leahavqi7k2l
Director: Fritz Lang
1984 Giorgio Moroder restoration: MoC Blu-ray or Kino Lorber Blu-ray
2001 Murnau restoration: MoC 2-disc DVD set > Kino Lorber 1-disc Restored Authorized Edition DVD
2010 Murnau complete restoration: MoC Blu-ray > Kino Lorber Blu-ray
Director: Fritz Lang
1984 Giorgio Moroder restoration: MoC Blu-ray or Kino Lorber Blu-ray
2001 Murnau restoration: MoC 2-disc DVD set > Kino Lorber 1-disc Restored Authorized Edition DVD
2010 Murnau complete restoration: MoC Blu-ray > Kino Lorber Blu-ray
Director: F. W. Murnau
2006 Restoration: Eureka Blu-ray
1995 photochemical restoration: BFI Blu-ray that some may prefer
Eureka with Murnau institute restoration featuring score based on original score, BFI uses Photoplay restoration with James Bernard score
Both Eureka and BFI BDs are worthy of owning. Each restoration has unique positives and extras. The James Bernard score on the BFI is outstanding and the image tinting is different to how the Murnau institute official restoration was done. The Eureka MoC BD is stuffed with extras and remains one of the best-made BDs of all time. Whatever you do: AVOID THE Kino Lorber BD!!! It uses the same Murnau institute restoration but drops frames for the whole feature - thus it loses a significant portion of the film! This was never acknowledged or addressed. The Kino Lorber BD remains one of the worst BDs of all time for this reason.
Director: F. W. Murnau
2006 Restoration: Eureka Blu-ray
1995 photochemical restoration: BFI Blu-ray that some may prefer
Eureka with Murnau institute restoration featuring score based on original score, BFI uses Photoplay restoration with James Bernard score
Both Eureka and BFI BDs are worthy of owning. Each restoration has unique positives and extras. The James Bernard score on the BFI is outstanding and the image tinting is different to how the Murnau institute official restoration was done. The Eureka MoC BD is stuffed with extras and remains one of the best-made BDs of all time. Whatever you do: AVOID THE Kino Lorber BD!!! It uses the same Murnau institute restoration but drops frames for the whole feature - thus it loses a significant portion of the film! This was never acknowledged or addressed. The Kino Lorber BD remains one of the worst BDs of all time for this reason.
251 min cut (Extended): Fox Blu-ray. Eagle Pictures has forced Italian subs in some parts
Eagle Pictures 4K Blu-ray, caps
The 4K includes both theatrical and extended cuts. It's overall a solid upgrade over previous discs, but some will strongly dislike the color grading.
There are some issues with encoding and grain management.
Nic's review:
Some definitely messed with it as there’s grain management going on that resulted in magnetic, squishy grain movement. Both cuts (4K discs) are affected and it doesn’t look like an encoding issue to me as the bitrates don’t drop down to single digits á la Paramount or StudioCanal. During opticals, the lowest I’ve noted on the Extended 4K was around 30 MB/s vs. ~5 MB/s more for the theatrical cut.
Darker scenes are mostly (but not always) better but when it gets brighter, particularly in exteriors or scenes like the Jennifer Connelly dance scene at minute 38, I can’t unsee the digital tinkering as it does some damage texturally.
I compared it with the Eagle Pictures and Warner Bros Fox Blu-ray of the extended cut and they all look fine without grain management like that. Eagle Pictures’s Blu-ray is an older one if anyone’s curious and credited to another authoring house than 64Biz, which did the 4K.
Other than that, except for some encoding-related chroma noise that peeks through in the DV layer, Eagle Pictures did everything right. They corrected the framing to 1.85, kept the original English titles, the English restoration note, subtitles, HDR/DV is gentle and respectful of the source black levels are better than on the Warner Bros/Fox Blu-ray. Without that grain management, this would’ve been the all-timer release we all longed for.
251 min cut: Fox Blu-ray (24-bit, Eagle Pictures is 16-bit, not audible)
229 min cut: Warner Bros LaserDisc (missing 2 minutes, but original mono mix was never released on DVD/Blu-ray)
Extended edition adds scenes cut from the theatrical, but from a much lower quality source. It's intended to approximate the original cut, but to what extent that is true is debatable.
US theatrical cut is infamously bad, was panned at release and never re-released on home video.
251 min cut (Extended): Fox Blu-ray. Eagle Pictures has forced Italian subs in some parts
Eagle Pictures 4K Blu-ray, caps
The 4K includes both theatrical and extended cuts. It's overall a solid upgrade over previous discs, but some will strongly dislike the color grading.
There are some issues with encoding and grain management.
Nic's review:
Some definitely messed with it as there’s grain management going on that resulted in magnetic, squishy grain movement. Both cuts (4K discs) are affected and it doesn’t look like an encoding issue to me as the bitrates don’t drop down to single digits á la Paramount or StudioCanal. During opticals, the lowest I’ve noted on the Extended 4K was around 30 MB/s vs. ~5 MB/s more for the theatrical cut.
Darker scenes are mostly (but not always) better but when it gets brighter, particularly in exteriors or scenes like the Jennifer Connelly dance scene at minute 38, I can’t unsee the digital tinkering as it does some damage texturally.
I compared it with the Eagle Pictures and Warner Bros Fox Blu-ray of the extended cut and they all look fine without grain management like that. Eagle Pictures’s Blu-ray is an older one if anyone’s curious and credited to another authoring house than 64Biz, which did the 4K.
Other than that, except for some encoding-related chroma noise that peeks through in the DV layer, Eagle Pictures did everything right. They corrected the framing to 1.85, kept the original English titles, the English restoration note, subtitles, HDR/DV is gentle and respectful of the source black levels are better than on the Warner Bros/Fox Blu-ray. Without that grain management, this would’ve been the all-timer release we all longed for.
251 min cut: Fox Blu-ray (24-bit, Eagle Pictures is 16-bit, not audible)
229 min cut: Warner Bros LaserDisc (missing 2 minutes, but original mono mix was never released on DVD/Blu-ray)
Extended edition adds scenes cut from the theatrical, but from a much lower quality source. It's intended to approximate the original cut, but to what extent that is true is debatable.
US theatrical cut is infamously bad, was panned at release and never re-released on home video.
Director: Jacques Rivette
Director: Jacques Rivette
Director: Jacques Rivette
Director: Jacques Rivette
Director: Wong Kar-Wai
2010 US Kino Lorber or 2012 UK Artificial Eye
2017 JP Kadokawa Blu-ray has the best encoding out of all the older discs.
Kino Lorber and Artificial Eye Blu-ray use the same master, between the two the PQ on Kino's release is slightly better, but the difference is negligible.
The 4K restoration (Criterion, 4K etc) are cropped to 2.35:1, have revisionistic colour grading and other changes.
Caps: old master, old master vs 4K restoration
Wong Kar-Wai on the framing:
With Fallen Angels, I have changed the format to cinemascope, because it was originally what I had intended to release the film in. When we were cutting the film, we accidentally turned the Steenbeck on anamorphic instead of standard. I felt that the film looked much more interesting because it enhanced the distance of the characters on top of the extreme wide angle that we shot on. Back then, it was impossible to shoot a film in standard and release it in anamorphic. With this restoration, we have successfully fulfilled this wish.
Director: Wong Kar-Wai
2010 US Kino Lorber or 2012 UK Artificial Eye
2017 JP Kadokawa Blu-ray has the best encoding out of all the older discs.
Kino Lorber and Artificial Eye Blu-ray use the same master, between the two the PQ on Kino's release is slightly better, but the difference is negligible.
The 4K restoration (Criterion, 4K etc) are cropped to 2.35:1, have revisionistic colour grading and other changes.
Caps: old master, old master vs 4K restoration
Wong Kar-Wai on the framing:
With Fallen Angels, I have changed the format to cinemascope, because it was originally what I had intended to release the film in. When we were cutting the film, we accidentally turned the Steenbeck on anamorphic instead of standard. I felt that the film looked much more interesting because it enhanced the distance of the characters on top of the extreme wide angle that we shot on. Back then, it was impossible to shoot a film in standard and release it in anamorphic. With this restoration, we have successfully fulfilled this wish.
Director: Bert Stern
Director: Bert Stern
Arrow UK 4K Blu-ray (damage removed, improved color/HDR, and best audio) or Capelight DE 4K Blu-ray (best compression but no damage removal and LaserDisc audio from Arrow)
Arrow UK 4K Blu-ray >
Capelight DE 4K Blu-ray Kino Lorber US Blu-ray, see caps
Arrow has done additional cleanup work removing nearly all the damage in the transfer. They have massaged the color timing and HDR to try and improve what they could. The Capelight may have better encoding but it does not have these improvements. The Arrow encoding is solid and in motion there are no issues whatsoever. The Kino release has the damage and other issues plus frequent noise due to the lesser encoding.
Some scenes in the Arrow transfer are better, some better in the Capelight.
Original matrixed Dolby Stereo: Arrow 4K Blu-ray or Image Entertainment LaserDisc
(Arrow is a port of the LD track, see spectrograms) This track has the best fidelity of any release but does have some channel bleeding baked in. The 2017 2.0 on the Arrow and Shout BDs was the Dolby Stereo original mix without channel bleeding but that had heavy noise reduction resulting in a very flat and underwhelming presentation. The surround winds up being lessened as well due to the processing. It's a tough choice between the two but the Image LD audio wins out because it hasn't been messed with and the impact is so unrestrained that no other version hits in the same way.
Capelight and old Arrow BD included the original stereo mix, but with excessive noise reduction rendering it much less detailed. Kino only included a painfully defective 2.0 track sourced from somewhere with limited fidelity, volume spikes and screechy high end which frequently ruins the music. The 5.1 remix on most modern release is a processed version that does not sound as good as it once did.
The best and most accurate of the 5.1 mixes is the original version from the 2003 Special Edition DVD in lossy AC3 form.
Arrow UK 4K Blu-ray (damage removed, improved color/HDR, and best audio) or Capelight DE 4K Blu-ray (best compression but no damage removal and LaserDisc audio from Arrow)
Arrow UK 4K Blu-ray >
Capelight DE 4K Blu-ray Kino Lorber US Blu-ray, see caps
Arrow has done additional cleanup work removing nearly all the damage in the transfer. They have massaged the color timing and HDR to try and improve what they could. The Capelight may have better encoding but it does not have these improvements. The Arrow encoding is solid and in motion there are no issues whatsoever. The Kino release has the damage and other issues plus frequent noise due to the lesser encoding.
Some scenes in the Arrow transfer are better, some better in the Capelight.
Original matrixed Dolby Stereo: Arrow 4K Blu-ray or Image Entertainment LaserDisc
(Arrow is a port of the LD track, see spectrograms) This track has the best fidelity of any release but does have some channel bleeding baked in. The 2017 2.0 on the Arrow and Shout BDs was the Dolby Stereo original mix without channel bleeding but that had heavy noise reduction resulting in a very flat and underwhelming presentation. The surround winds up being lessened as well due to the processing. It's a tough choice between the two but the Image LD audio wins out because it hasn't been messed with and the impact is so unrestrained that no other version hits in the same way.
Capelight and old Arrow BD included the original stereo mix, but with excessive noise reduction rendering it much less detailed. Kino only included a painfully defective 2.0 track sourced from somewhere with limited fidelity, volume spikes and screechy high end which frequently ruins the music. The 5.1 remix on most modern release is a processed version that does not sound as good as it once did.
The best and most accurate of the 5.1 mixes is the original version from the 2003 Special Edition DVD in lossy AC3 form.
Director: Simon Wincer
Kino Lorber Blu-ray
4K is defective with color space issues and poor encoding, disc replacement program for the 4K disc has been setup to correct the color space issue. The UHD has visible artifacts from the bad encoding. The HDR is overdone and the Paramount 4K master has grain management.
The new Kino Blu-ray has none of the UHD's problems and is superior to the UHD in every way though it still uses the same Paramount master.
DVD 5.1 or LaserDisc 5.1 AC3, LD PCM 2.0 for the matrix stereo version. The LD and DVD seem to be the theatrical audio mix untouched with plenty of low end. This low end like a number of 90's Paramount titles was mixed out or tamed on subsequent releases.
The Lionsgate BD and Paramount BD share the same lackluster HD master with DNR and image distortion. The Lionsgate is much better encoded but has a 7.1 remix which messed up the original mix design by lessening all the great Foley work in favor of the score. The Paramount BD had a 5.1 lossless version of the original mix but it's a new version where the bass has been tamed so the track has lost its punch. The Kino Lorber UHD and Blu-ray recycle this same lesser 5.1 mastering. The original mix can still be heard on LD and DVD. The 2.0 stereo on the Kino is matrixed but also does not sound as good as the 2.0 matrix audio on DVD or LD.
Kino has announced a replacement program for the defective UHD but it is highly likely all the other problems will go unaddressed. The Billy Zane interview on the Kino BD has technical issues in the editing and clip quality used.
Director: Simon Wincer
Kino Lorber Blu-ray
4K is defective with color space issues and poor encoding, disc replacement program for the 4K disc has been setup to correct the color space issue. The UHD has visible artifacts from the bad encoding. The HDR is overdone and the Paramount 4K master has grain management.
The new Kino Blu-ray has none of the UHD's problems and is superior to the UHD in every way though it still uses the same Paramount master.
DVD 5.1 or LaserDisc 5.1 AC3, LD PCM 2.0 for the matrix stereo version. The LD and DVD seem to be the theatrical audio mix untouched with plenty of low end. This low end like a number of 90's Paramount titles was mixed out or tamed on subsequent releases.
The Lionsgate BD and Paramount BD share the same lackluster HD master with DNR and image distortion. The Lionsgate is much better encoded but has a 7.1 remix which messed up the original mix design by lessening all the great Foley work in favor of the score. The Paramount BD had a 5.1 lossless version of the original mix but it's a new version where the bass has been tamed so the track has lost its punch. The Kino Lorber UHD and Blu-ray recycle this same lesser 5.1 mastering. The original mix can still be heard on LD and DVD. The 2.0 stereo on the Kino is matrixed but also does not sound as good as the 2.0 matrix audio on DVD or LD.
Kino has announced a replacement program for the defective UHD but it is highly likely all the other problems will go unaddressed. The Billy Zane interview on the Kino BD has technical issues in the editing and clip quality used.
Director: Maurice Cloche
Director: Maurice Cloche
Director: Michael Gordon
Director: Michael Gordon
Director: Alan Crosland
Director: Alan Crosland
Director: Melville Shavelson
Kino Lorber Blu-ray 6K master from Paramount
Director: Melville Shavelson
Kino Lorber Blu-ray 6K master from Paramount
Edit History
No edit history available
Made with ❤️ 📀 by vanshady