Label Spotlight - Kino Lorber

In this most recent installment of the Label Spotlight series, Matt takes some time to talk about one of the real workhorses of the physical media space, Kino Lorber. With one of the largest available libraries of releases, Kino Lorber has been in the physical media game for a long time. They fill an important space for movie fans and collectors, and they do it in a way that is not as flashy but keeps a high standard of quality.

Matt dives a bit into the history of how Kino Lorber came about from a merger of two other companies, the different lines that Kino releases under their name, and a big list of personal favourites and recommendations that he has for discovering or getting into specific niches of what Kino Lorber releases.

---

Email: cinemaonashelf@gmail.com

Instagram: https://www.instagram.com/cinemaonashelf/

Substack: https://www.cinemaonashelf.substack.com

Matt's Letterboxd: @Matty236

---

Music:

"Vibing Over Venus" Kevin MacLeod (incompetech.com)

Licensed under Creative Commons: By Attribution 4.0 License

http://creativecommons.org/licenses/by/4.0/

Transcript

SPEAKER_00 0:29

Welcome to Cinema on a Shelf, a podcast about movies and physical media. My name is Matt, and thank you for spending some time with me instead of watching a movie. I promise I will try to make it worth your time. Welcome to the latest in our label spotlight series here on the podcast. This time around, we're talking about a label that I think everybody has probably heard of in the physical media space. Very likely you probably have something from this company in your physical media library because they have one of the largest collections of releases, both currently available and out of print, and that is Kino Lorber. So we're gonna do a spotlight on this company, um, talk about how they came to be and where they are right now as a company, and the sort of things they do with their releases, which is uh very wide-ranging. And Kino Lorber is a very unique version of a boutique label uh in the physical media space. They do something that not a lot of other labels are necessarily doing in their approach to how they do things, and I think it's maybe something that can go a little underappreciated because they do what they do so well and so frequently that uh I think sometimes they just are taken for granted that they are just there doing their thing. And I want to give Kino Lorber a little bit of shine in this episode today. Um, I do also want to actually give a shout out to another podcast because Kino Lorber actually does do their own podcast. In uh in the last couple of years, they have been putting out the Shelf Space podcast, which is hosted by Alice Liu and often features the head of acquisitions from Kino Lorber, gentleman by the name of Frank Tartsey. Uh, he is uh on I think most of the episodes at this point in time, and they usually are now including other guests on their episodes. I think they're up to uh about a dozen or a dozen and a half episodes at this point in time, and they uh bring a whole bunch of different guests from you know famous collectors to uh directors and movie people, even uh some of the people that are in charge of Kino Larber, uh, as well as as Frank Tartsey. It uh yeah, it's it's a really great podcast. It's really fun to you know hear a little bit from some of the people that are making some of the decisions. And in Frank's case, you know, head of acquisitions is a a pretty pretty prominent role in a in a physical media label. And they have had some great guests and some really great conversations about not only Kino Lorber releases, but also even just diving into a little bit of the history of the business. There's a really great episode that I pulled uh quite a bit of info from for this episode in uh talking to their their CEO about their business and how it kind of came to be he has a huge uh huge amount of of experience in the physical media business from the very early days of like VHS even. Uh, and so does so does Frank Tartsey, for that matter. He's worked for Kino Lorber two different times and some other uh companies that were in the physical media space as well. It's it's a really fun, informative list in a lot of ways. Uh they have some great guests, so definitely check out Shelf Space if you are the kind of person that enjoys listening to a podcast like this. Chances are you're gonna find a lot to enjoy about Shelf Space. And they do also include a little bit in their episodes where they answer questions that people can submit. So if you've ever had a question that you wanted to ask somebody directly, they do have that in all of their episodes. So definitely check that out if you're interested. So Keno Lorber is a really interesting one to talk about in terms of the company and the history of how it came to be, because it really is a company that kind of came to be as a merger of two other companies, which sort of started in the in the movie space in slightly different ways. And those two companies are Kino International and Lorber HT Digital. So talk a little bit about each of those and kind of where they uh what they were, how they were founded before they eventually merged to form Kino Lorber. So we'll start with Kino International, uh, because it's the one that I think has been around for a little bit longer in terms of history. It was originally founded in 1976 by a gentleman named Bill Pence, who was at one time uh a vice president at Janice Films, which we've talked about before in the Criterion Collection. Janice is one of the kind of parent companies of Criterion. And Kino International was founded as a theatrical distribution company in a similar vein to Janice Films. A year later, in 1977, they were purchased by a gentleman named Donald Crimm. And in that same year, they also acquired the rights to distribute films in the Janice Films library theatrically. So Janice Films was they had been doing the theatrical distribution thing for some time, but a lot of what they were doing at that point was a little bit more localized to the the northeastern markets in the US, a lot of them specifically kind of in like Boston, Harvard, Cambridge area in Massachusetts, and in New York City. And uh the the agreement with Kino International was going to bring some of those films to different parts of the United States and kind of add a little bit more of a distribution arm, I guess, to some of those films. Also at that point in time, Kino began a bit of a re-release campaign for the films of Charlie Chaplin in terms of showing them in theaters. Um Chaplin's films have been sort of released and re-released in theaters at different times, but Keno really kind of undertook this in 1977 going forward for a number of years, which um, you know, they they actually were originally responsible for getting the Chaplin film A Woman in Paris out into theaters, which really wasn't very widely available at that point in time. So they they are kind of chiefly responsible for a little bit of that. They also, um, because they, you know, were interested in in distributing these chaplain, this led to further silent films and silent film collections being part of what Keno would acquire for their own collection to distribute in theaters. So this would include some all-time classics like Fritz Lang's Metropolis, and uh notably also several D.W. Griffith films, of which a lot of them they've continued to have releases to this day, and also a lot of Buster Keaton films. Uh this was something that that uh you know is not a really large leap from Charlie Chaplin films, uh, and Buster Keaton had a vast uh filmography actually even even bigger than Charlie Chaplin's. So this was something that they did uh, you know, in these early days of of putting some of these silent films and re-releasing them into theaters in the late 70s. As time went on with Kino International, they did sort of start to include more films into their collections for distributing throughout theaters, and as time went by, it did start to focus a little more on uh American classic films and documentaries, with a minority percentage, you know, 15-20% of that being dedicated to international films, hence the name Kino International. They did also, you know, bring a lot of international films, Metropolis obviously being one of them. It was one of Fritz Lang's films that he made while he was still in uh his native homeland of Germany, and they would, you know, bring bring a select amount of international films, but a lot of what they were doing is taking, you know, these American classic films of classic Hollywood that weren't really, you know, being shown in theaters anymore in the in the 70s and throughout the 80s. And, you know, that that became something that they were pretty successful at. Documentaries as well. Documentaries have always had an uphill battle as far as getting theatrical distribution anywhere, and Kino was a company, Kino International, pardon me, was a company that did highlight documentaries as part of the slate of what they were doing. This would eventually lead to them beginning to do home video releases in the late 1980s. Uh the first of which came out in 1989, which was uh at that point in time on VHS. That was the main home video uh market edition. You know, the the Betamax debate VHS versus beta had already happened. Kino never really got into the Laserdisc game, but they did do a lot of VHS editions under the name Kino Video, which was sort of the home video line of Kino International. Some of the first few titles that they released included uh Fritz Lang's The Spiders, the Italian silent film classic Kiberia, as well as several of Buster Keaton's full-length films. Kino Video then eventually would start releasing DVDs in the year 2000, the first of which was Julie Dash's Daughters of the Dust, which is actually a film that I have not ever seen, but uh in doing some research for this episode was uh actually very intrigued by the the description of that. So I I may potentially look at tracking this down because it does sound like a film that I'd be very interested in watching. So that would bring Kino International into both the home video VHS market and then the DVD market into in uh the year 2000, and then going forward they would continue to have different Kino Video releases on DVD. Now the other company that would come to merge into Kino Lorber is Lorber HT Digital, and this would actually start as a completely different company. In fact, there's a few iterations of companies that would come from the other end of things, but they were all basically spearheaded by a man named Richard Lorber, who founded a film distribution company called Fox Lorber in 1981. Um, similar premise and idea as Kino International, although they were looking to distribute uh some different kinds of titles than what Kino International was interested in doing. Uh, he would do this for a number of years and would eventually form a DVD label for some of these releases called Koch Lorber, which then eventually would lead to the formation of the Lorber HT Digital Company. Um now Koch Lorber was doing a lot of DVD releases for um certain films that they were doing, some film partnerships that they had with films both domestic and international that they had as part of their library. And eventually what would happen is that um Richard Lorber was uh actually in very interestingly long-term friends with Donald Crim, the gentleman that purchased Kino International in 1977. They, I guess, had been friends since they were in college together at Columbia University and ended up in a similar line of work in the film distribution and eventually home video areas. And the uh Lorber basically acquired Kino International in 2009 and merged the two companies together. So Kino International and Lorber HD Digital became Kino Lorber officially in 2009. Um, unfortunately, Donald Crim passed away a couple of years after this merger. It does sort of sound like um Richard Lorber is uh was a guest on the shelf space uh podcast that I mentioned before, and he talked a little bit about his relationship with Donald Krim and how they, you know, had uh had remained friends, and when when the companies came together, they were very interested working together on this new venture, and uh Donald's passing, unfortunately, was quite sudden. So Richard Lorber kind of went forward as the CEO, and to this day is the CEO of Kino Lorber. Ever since that point, Kino Lorber has been in the physical media landscape. So they're they're a really long-running company in terms of ones that have been around the block a little bit, you know, obviously having roots in film distribution, uh, going back to the 70s and 80s from both of the individual companies before they merged. And, you know, they so they have a real history and a real understanding of the markets that they're existing in and how they do what they do. And Kino Larber does something I think really interesting with what they do in their physical media label, and it's kind of uh, you know, they really do chart their own path in terms of the boutique labels because what I feel like what they do is a little bit more in line with what major studios used to do in kind of the VHS and DVD heydays, where they were really putting out a lot of films and a lot of TV shows and a lot of uh you know everything on these home video versions that they were doing, you know. The at one point it was very, very profitable for any major label or major studio, pardon me, to make their films available, whether it was for video rental stores or to put them into physical media stores or outlets that would carry physical media, and you know, Kino Lorber really kind of has carried this mantle. They don't necessarily uh they're not I uh this is sort of difficult to maybe say without sounding like a backhanded compliment, and I certainly don't mean it that way. But Kino Lorber really does a lot as far as volume goes. They are are less concerned about curation than actually just getting editions available for people to get their hands on. So, you know, they're not necessarily looking at at making the most prestigious physical media line out there, or they're not worried about collectivity necessarily, um, or doing things like crazy box sets. They do have actually quite a few box sets, but a lot of those are done in the mode of like a theme or a collection of, you know, again, getting movies into the hands of people that want to watch them and it and own them on physical media. And they do that through a few different um lines, I guess you would call it. So at the they don't necessarily think of them as sub-labels, but they sort of do these different lines of their own releases. So I think, you know, to give you a bit of an idea of of what Kino Lorber does, that it's it's probably a good idea to maybe look at some of these lines. Because chances are, you know, if you're listening to this, you've probably seen some of these lines. Uh, specifically, you know, whether it's uh for specific types of releases or just things that are very famous and well known that they've released. And uh I think it's probably a good place to at least start with like looking at what they do in terms of these different lines that they release films under. The easiest one of these to start with would be just anything that's been put out by Kino Lorber, or on the early days, even just Kino. Some of the ones that I have that are some of their earlier releases do just say Kino on them. Um they started releasing DVDs under the Kino or Kino Lorber name after the merger in 2010, and now they are releasing not only DVDs, but also Blu-rays and 4K UHDs under this line. This a lot of the time kind of encompassed uh newer films, whether it's something that they had acquired uh internationally to distribute in North America or um just something that maybe they maybe they potentially had a hand in producing or maybe acquired. They actually do have some films over many of the last number of years that came out of certain big film festivals like Cannes or Venice that they acquire the rights for distribution to later on, uh, you know, once the physical media is able to be put out there. They do also do quite a bit in terms of documentaries, as I mentioned, and this has continued on and on and on. They actually have uh really an interesting library of documentaries, everything from new stuff to older stuff. And a lot of sort of hallowed classic films also get put under the general Kino Kino Lorber line. This is how they've released Fritz Lang's Metropolis, which is an absolutely legendary, you know, sci-fi silent film that has been incredibly influential. They do also put out things like Sergei Eisenstein's Battleship Potemkin on the Kino Lorber or the straight Kino line, I think, but you know, also ones that just have Kino Lorber on them. This is typically where they kind of go. This is their, you know, they're the parent company, and if they have a film that doesn't necessarily fit any of their other lines, then often they'll just be putting it out as a Kino Lorber line. Getting into some of the specifics, uh, one that they do a little bit more releasing of is Kino Classics, which started releasing DVDs and Blu-rays in 2012 and would eventually also grow to include 4K UHD releases with some of the Kino Classics uh films and collections. A lot of the time this is going to encompass a lot of their silent films. So if you're looking at, you know, something like the cabinet of Dr. Caligari that they have, uh this is is under the Kino Classics line. If you're looking at um, you know, the Gollum or um Man with a Movie Camera, these are all done under Kino Classics as well. There are a few of them that they also have done uh in conjunction with the Library of Congress. Uh so ones like Stanley Kubrick's Fear and Desire is put in under the Kino Classics line, and it was done in collaboration with with the uh the Library of Congress, as well as several others, the American Theater Collections and things like that, do all fall under the Kino Classics line. Uh a lot of international releases, especially if they're older releases, do also fall into Kino Classics. So some of the um, you know, films that they've put out from some of the Russian master directors, uh, different parts of the world that uh if they're if they're not a newer film, then Kino Classics is sort of the line they would go under. And they do have some specialty collections that they do include under Kino Classics. The one that I I've seen several releases for that I think is kind of a like a fun, cheeky collection that they I believe are still continuing to do at this point in time is a collection uh of several volumes that they call Forbidden Fruit: The Golden Age of Exploitation films. And they have uh like I think more than two dozen volumes of these films, which a lot of times it will be um, I think the the maybe the best one to that you probably have potentially heard of is the film Reefer Madness, which is the the 1930s exploitation film that is very like anti marijuana and kind of has become a bit of a joke. It very much is like this very earnest, uh you know, like kind of propaganda ish film. Ones that very much are like meant to be these are the bad things in society, you should avoid this, or like moral. Tales of some kind. Most of the time they're not very well done. You know, Reefer Madness has become a cult classic, but not because it's a great film, because it is incredibly campy and schlocky, and people kind of love to laugh at it. They've done several of these different collections, whether they're about morality, whether they're about um, you know, strange uh like I've seen one, I think, called Nudist Camp, which is all about like following a nudist colony, which is a sort of like taboo subject at the times that it's coming out. And a lot of these collections do have either multiple films in them or several short films, and they are all included as a volume in this set under the Kino Classics line. They do also have some other collections that they have done with collaborations with other film groups or distribution companies, uh, such as Zeitgeist Films, uh, Rero Films, Redemption Films, and a lot of these are sort of done with some special like branding or uh, like I said, in collaboration with this other with other companies, to do these specialty collections that are based on different things. So the uh the collection they have with Zeitgeist Films is based on the library that Zeitgeist Films has available to them, ever expanding. Some of them are more like regional interest films. Uh the Rero set or films that they do are very much focused on Italian films from a wide variety of Italian filmmakers, whether they're more well-known, such as people like Mario Bava or Bernardo Bertolucci, uh, even down to ones that are a little bit more lesser-known, but sort of uh Italian horror films or crime films or Giallo or things like that. Uh, Rero does a lot of those in connection with Kino Lorber, or even by genre, which is what Redemption Films has done. They have a line that literally has some branding on it for Redemption, that uh are all based around different horror films that a lot of times come internationally and are distributed uh through Kino Lorber under the Redemption Films kind of branding, uh, but in collaboration with them as well. The line that you are probably the most familiar with when it comes to Kino Lorber is the KL Studio Classics. Uh you may know them by the black spine and white writing on a lot of their releases. Uh, this was a collection that Kino Lorber started in 2014 on both DVD and Blu-ray releases. Now they do include 4K UHDs with the KL Studio Classics as well. Um, these releases were sort of named under this banner because they were licensed and continue to be licensed from major or even midline uh movie studio libraries. And this initially was started because Kino Lorber came to an agreement initially with MGM to distribute different titles from the MGM library and back catalog. So this is hence KL Studio Classics in conjunction with at that time MGM. Now they've actually gone on for many of the last few years to work with uh Universal, to work with Paramount, to work with other kind of independent uh distributors that have acquired films from you know libraries of smaller Hollywood films or uh other ones like that that would kind of fit under KL Studio Classics. The uh they also down the line have started to include more recent films into this collection. Again, these are licensed out from studios and done in collaboration with them. Some of them are kind of put out on KL Studio Classics as its original first run. Some of these are done as uh sort of a second run of Blu-ray releases. I have a few of these that you know initially were available on DVD and Blu-ray from the studio, and as the studios have had less and less money to do their own physical media releases, they have looked to Kano Lorber as a company that they can work with to do not necessarily a collector's edition or something they might do with a Criterion or an Aero Video or you know an imprint or an indicator, some of these more kind of prestigious uh collectory type of physical media boutique labels. Kino Lorber is a company that is more than happy to do you know more standard editions, and some of them they do have quite a bit of supplements on them, but um the model of what Kino Lorber really does, especially with the studio classics, they're really not afraid to do what you would probably term as like a bare bones release. And you know, this is is I think why Kino has found a lot of success over a number of years, is that they're not necessarily too worried about saying, okay, we want to have custom artwork for our release, and we want to have you know all of the supplemental features we can, and we'll even pay to do a whole bunch of new interviews, and um, you know, they they will a lot of those things that you know make certain other boutique releases really special and unique and interesting to collectors. Kino doesn't necessarily go that way, but their bare bones releases are not by any means meager, um, specifically when it comes to you know the um the upgrading, the restoration, the remasters. A lot of times these are still going through a very thorough, really excellent remastering process. Uh, almost in a way, I kind of think of it as uh something similar to what Warner Archive would do, where Warner has their in-house you know team that is is doing remasters and doing new HD versions of things for these great releases. And even though they're a little bit more bare bones and don't have as many supplements to them, uh they're still great releases. They look really good. And Kino Larber and the Studio Classics line, it really does embody that as well. Um, you know, they I I think some of the releases do lend themselves to some of the supplemental features, and a number of the ones that I have are you know have audio commentaries, have interviews. Some of them are done for that release, some of them are archival, and they've ported over from other DVD and Blu-rays that have been out previously. But again, they preserve those supplements going forward, uh, and they're they're happy to license them to put on there. They're not uh they're not afraid to not put something on their discs. Um, but if they do have a disc where there is quite literally just the film and that's it, it's just the film and that's it. It's gonna look very good, but it is gonna be that sort of release that isn't necessarily gonna be a deep dive, but you know, the access of having a a great high-definition quality of that uh film available in your collection is a really great boon, and I think something that a lot of collectors do really enjoy, especially if you're going on a deep dive into the filmography of a director or an actor, you know, the as somebody who loves Billy Wilder. Uh, they have uh Keno Lerber has released a lot of Billy Wilder's films on Blu-ray and DVD in uh and even 4K now in the more recent past. And you know, just having access to those films I think is wonderful. And anybody that you know really loves, hey, I really want to dive into you know an actor with a huge filmography like Paul Newman. Paul Newman has a ton of films that he starred in that are on the KL Studio Classics line. Now, Kino Lorber releases are available in several different places out and about in the world. Um, Kino Lorber does sell their titles on their own web store uh as well as in many other physical media retailers. You go to you know your your standard ones online, your Amazons, your Barnes and Nobles uh of the world. They are gonna include some Kino Lorber releases there. They do also, you know, sell them in brick and mortar stores as they are available. And you know, I we have several locally here in Canada, even in some bigger retailers like Sunrise Records, they do carry quite a bit of Kino Lorber stuff. They uh Kino Lorber is actually really well known for frequently running sales on their web store, which is kind of great. Um, you know, there are some companies that will do a little bit more of like a you know, a couple of times a year sales, big sales. Um we're in the middle of one right now with the Criterion Collection sale at Barnes and Noble, uh, as this episode comes out in July, which I'm sure many of you are taking advantage of. Kino Lorber does have sales on different stores, but actually their web store, they really frequently will put, you know, either small amounts of titles on sale or even a huge amount of titles on sale. You know, they're having a summer sale right now, as I speak, on their web store. And it's not necessarily everything that is in their collection on sale, but they do put a good amount of stuff, especially the the studio classics stuff. They they do really make a point of of doing some frequent sales with that, which is great for consumers because you know you don't necessarily have to wait once or twice a year that you can just sort of keep an eye on on their web store if you're if you're looking to purchase directly from them. Uh they even do this kind of on a uh more frequent basis, so you know, other than doing a long-term sale, like a lot of places will do. They've started doing what they call treasure chest weekend sales. If you sign up for their their newsletter, you get emails uh every Friday where basically Friday, Saturday, Sunday they're doing like a two and a half day uh sale that of some of their films that are based around specific themes. So a theme could be anything from uh French films or a certain genre, uh, or uh maybe a specific actor or actress or director. They could also be something as simple as like page-to-screen adaptations I've seen them do, or um, you know, I like films featuring women that are blonde. They they do all the they've done all these sort of strange topics about things, and it's just kind of a way for them to pick an interesting topic and put a few movies on sale for a couple of days. So if um, you know, if you do subscribe to their their email, you will get some notifications about that. That uh they will do that a little bit, but checking their web store is is a good idea because they will have these on sale. They do also have a section uh called While Supplies Lasts, which is great for titles that eventually are running out of their print run with Kino Lorber. Um Kino Lorber doesn't always necessarily have films that they have rights to for the long term. Uh, you know, I think all companies have films that eventually will go out of print. Kino is a company that may just acquire a film for a short period of time and you know do an edition of it for a few years and then maybe let it lapse, and that film will go to you know another distributor, or maybe they, you know, are putting out a version of a film uh after a previous boutique line has had the rights to it and let it lapse. I know a lot of the all of films collection, the Paramount Pictures stuff that all of films did, um, Kino Lorber has done a lot of reissues of those films that were in all of films because a lot of them were great, and when they started working with Paramount, they saw that as a great way to do it. So they do have either their web store is is really great. I've bought from them several different times. It is also quite quite easy to use, quite easy to navigate around. Uh, it's uh it's a good user user experience as far as buying from their web store. Outside of the physical media aspect of things, Kino Lorber does also have a couple of proprietary streaming services that they own for themselves to distribute their own content. Um there are two of these that they have up and running at the moment uh in 2026. These have have taken different forms throughout Kino Lorber's lifespan. But uh they basically have two that they've divided into a streaming service for their film collection, which is literally called Kino Film Collection, and then one for their TV collections. They do have an interesting library of TV series, both uh in North American as well as international TV series that they've brought for North American distribution. Uh, and the TV collections are available under the Megahertz Choice streaming service. So they are pretty wide-ranging. Um, you know, they they do also have a little bit of a hand still in film distribution and in uh you know producing certain films. They last year had uh one of the films that they have their hands in is uh Mr. Nobody vs. Putin, which was a documentary that was nominated in the best documentary film category at the Oscars, and I think they are about to, or maybe more most recently, have put out a version of that film. Uh they have done this a little bit over the years, you know, two years ago they had a release of documentary, uh, physical media version of soundtrack to a coup d'etat, which was also a big awards documentary that year. So they they have their hands on a lot in terms of films, and even though the physical media is kind of what they're really known for at this point, it's pretty wide-ranging. And even their physical media lines, as as you heard me kind of expose about, uh, they they have a lot of of films that they encompass. In fact, their catalog is is really huge, and you know, and just doing a bit of a cursory look at what they have available on their web store right now. At this moment, they have over 3,000 titles available and many, many more out-of-print releases. So they this is a company that has literally been putting out thousands and thousands of releases over well, over the course from you know, 2009 since they merged together until now. So, you know, they've been doing this for 17 years. They are quite good at it, and their business model is really, like I said, about availability. It prioritizes that over the deep dive or the collectability of it. They really just they love to be able to get films into the hands of collectors, into the hands of film fans to be able to watch them. Um so it quite when when I started to put in a bit of an idea as to like, okay, well, I in these label spotlight episodes, I have a bit about like, well, what you should check out. And that's just impossible with Kino Lorber. There is is quite literally so much that you could potentially check out. Uh, every film fan is going to find something in the Kino Lorber library that they will be interested in. Like, there's no way they would not. So, because of this, I kind of struggled a little bit to think of how I would go about like starting to recommend because you know, there's different lines. Do I start to go through some of these things? And I I just thought, you know what? If there's something for everybody in the Kino Lorber library, then I should go through a few that I have in my own collection. And I do have quite a quite a good number of Kino Lorber releases in my collection. And just go through some of my personal favorites and things that I've revisited over time that I I really enjoy. Um, some of them are just great films, some of them are great presentation, and I kind of have a few like categories or or things that really don't mean too much other than to me, to be honest. I guess I have one category that is just KL Studio Classics. But you know, they there's some things that I've found I've really enjoyed in collecting Kino Lurber stuff. So I'll start with one that I've talked a little bit about already that they do have a specialization in, going way back to their theatrical distribution days, and that's silent films. And I I you know they have had their hands on some of the most legendary silent film era classics that you can possibly imagine. And, you know, that really they they started with, you know, Charlie Chaplin and and a lot of those types of films. They don't have the rights to the Chaplin films anymore. Uh, but one they did have around that time, as I've already mentioned, is is Metropolis, Fritz Lang's absolute epic. Um, the edition that they do as like the standard Metropolis edition is the complete Metropolis. The this Metropolis is a film that exit has existed in various cuts in various countries over the course of you know literal decades, almost a full century, well, maybe even more than a full century at this point. Um and it it's it is it is incredibly well known. It's one of the most influential films of all time visually, uh, and even by genre, you know, it's still influencing science fiction films to this day. They the standard edition that they've had out for a long time is is still widely available. They did at one point in time do a version that is not in print anymore, and I don't typically like to shout out too much out-of-print stuff because uh, you know, tracking that down on a secondhand market or anything is sometimes dubious or sometimes hard to do, uh, sometimes expensive to do. And I didn't really look up this version, but they did do a Metropolis release that was a specialty release as the Giorgio Moro version. And this was something that actually was released in theaters, and I think Kino International actually had a hand in getting out into theaters and working with the legendary electronic musician Giorgio Marauder, who would kind of go on to uh be one of the founding fathers of electronic music in the late 70s and 1980s. And there is a version of Metropolis that was shown in theaters with music supervision done by Giorgio Marauder, and he would do some you know synthesizer tracks to go as the alternate score to the film, and would even include some, you know, major major artists in uh and some of their songs within this. So it was like a you know, if you think of like the the people that would play Dark Side of the Moon and watch The Wizard of Oz at the same time to try and sync it up, it's almost that, except it's somebody curating this around uh a shorter version than the complete version of Metropolis. It's really fun. I really I really enjoy the music that's in that one as well as the film. So it's sort of a it's a fun little curio that if you if you're a fan of Metropolis and ever find a version of the the Marauder Kino Lorber version, it's really fun to check out. So I I did want to shout it out here. I do also have quite a bit of Buster Keaton stuff from Kino, uh, specifically one that I think is probably the maybe the most famous Buster Keaton films, the general. Uh it looks it looks absolutely great on the Blu-ray, the most recent Blu-ray that they have for the general, a lot of of fun uh you know behind the scenes, not behind-the-scenes stuff, but you know, some supplemental features to go with it as well. And I have a great Buster Keaton shorts collection on Blu-ray as well. It is across multiple discs, I think it's five discs in total, a real treasure trove of Buster Keaton comedy shorts. He was he was one of the great, you know, silent-era film comedians. Uh basically you you put Buster Keaton, Charlie Chaplin, and Harold Lloyd in there as kind of the the trifecta of great individual comedic performers of that time. And you know, Keno has done such a great job of of so much Buster Keaton's stuff that this shorts collection is really really one not to be missed if you were a Buster Keaton fan. Uh I also mentioned D.W. Griffith. They have done a lot of different releases, Keno Lorber has, for DW Griffith films in his Silent era, and I think the one I would probably have the highest. Highest recommendation for at this point is Way Down East, which has a really nice comprehensive Blu-ray release. I do and I actually need to look into this because it's Way Down East is not necessarily my favorite silent Griffith film. That would probably be Intolerance. And I do have Intolerance as part of a DW Griffith DVD box set that Keno Lorber put out. And I would love to see a real like real deep dive edition into Intolerance. I think it's a it's a film that's more than deserving of that type of edition. It may already exist. I'm not gonna go look it up, but if uh I I do own the the DVD of it and would love to see a real real loving release from Kino Lorber, and I think they would be more than willing to do that. Um there's also a a really speaking of influential silent films, uh the Soviet, I guess, pseudo-documentary, the Z Govertov film Man with a Movie Camera, also has a great Kino classics release, and I know it's it's had a few releases on different boutique labels. The one that I have in my collection is the Kino one, and I do really quite enjoy that one. I I do really quite enjoy that film. It's it's a really really unique watch, even even to this day. I think it's you know it it has lasted the test of time for for a reason, and uh I I don't know what it is I enjoy about it. It reminds me a little bit of some of the like travelog documentary films of yesteryear that I really enjoy. Um, you know, not necessarily like the modern David Attenborough stuff, although that stuff's great as well. Yeah, I just I it's it's a film I've gone back to more often than I expected to when I first watched it. So, yeah, a lot of great silent films that are in the collection, and those are some of the ones that I have that I really enjoy. Segwing straight away from Ziga Vertov um would be uh a number of films that I have from Kino that are Russian films. I don't know if they had intended to be a distributor that really did great editions of Russian, classic Russian cinema, but they kind of landed there, to be honest with you. It's it's very interesting, you know. They they have have films by some of the most famous Russian directors of all time, you know, including people like Sergei Eisenstein, which I mentioned earlier. They're their version of Battleship Potemkin by Eisenstein is is really excellent. Um it's a I think it's a great example of how you know early silent cinema can look absolutely spectacular on a high definition format. Um I have the Blu-ray of Battleship Potemkin, and it really does does the film a great service in that format. Kino has put together a really lovely, you know, um physical physical presentation as well as the uh the things that are shown digitally on the disc. It's uh it's really, really, really interesting. It's a it's a great deep dive into uh a real legendary film that does deserve the praise it gets for some of the set pieces and the the kind of overwhelming visuals that it has. Uh boy, speaking of overwhelming visuals, yikes, um I I two films that I really enjoy from this uh from the Kino Lorber line is uh the Kino Classics line, I guess, in this way, is two of the later films from the master director Andre Tarkovsky. Uh specifically Nostalgia and the Sacrifice, which I have the 4K UHDs of both of these. And uh, you know, Tarkovsky is is really really renowned internationally as one of the the greatest visual directors of all time, and you know, really, really made these these absolutely breathtaking films with some of the the most arresting and kind of hypnotizing visuals and even baffling visuals in some of his films. And you know, nostalgia and the sacrifice are two films that I was a little bit later to in watching some of his films and uh you know really enjoying a lot of his earlier stuff like Ivan's Childhood and and Andre Rublev and Solaris. Um Nostalgia and the Sacrifice were two of the last of his that I got a chance to see, and they they just really leave these these visual imprints on my brain. And the 4K's that Keno has done of these two films in particular look absolutely stunning. They are, you know, far and away the best that this film, these films I'm sure have ever looked, even though they were two of the the last three films that Tarkovsky ever made, and you know, they weren't really that long ago. I think the sacrifice was 1986. Uh, but they look absolutely spectacular. So so real kudos to those ones. And if you're a Tarkovsky fan, definitely check those out. Going a little newer on the Russian cinema aspect, um, one of the the more well-known current Russian film directors is Andrey Sukh or Alexander Sukharov, pardon me. And his his masterpiece Russian Ark is available on Kino Lorber. And Russian Ark is is uh again in in this sort of vein of all of these great, you know, Russian visual directors, whether it's Eisenstein, Tarkovsky, whoever, um, Sukharov's Russian Ark is a real breathtaking film, uh, you know, done in in what looks to be one shot, you know, even though it's it's done with a few tricks. It is just this like sweeping dream of a film that if you haven't ever heard of it or seen it, look up a little bit about it. It m it's not a film necessarily for everyone, but if it is the kind of thing you think you would enjoy, this edition from Kino Lerber is awesome. It looks so spectacular. I first watched this film in in the theater when I was in university. And uh my god, this this film just it I I need to re-watch it again. It I absolutely love it. So kind of a an interesting little package of Russian films that Kino has done that I really love. Um, but yeah, there there you go. And I guess, you know, to keep the theme going of By by Country, by now, if you've heard any other episodes of mine, you know that I'm Canadian and I do really enjoy Canadian film. And Kino Lorber has done some great releases of Canadian films. They have a couple of them with Zeitgeist Films, as I mentioned, uh, one of the other companies they've done some partnerships with. They have released a couple of Guy Madden's feature-length films, uh, the Madman from Winnipeg, who does surreal, crazy wacko type stuff that I really quite like. Uh, very humorous. Um, the two that I have in my collection of his that are really great are Tales from the Gimli Hospital and Archangel, which I just uh watched on on disc for the first time pretty recently. And uh it's a it's a wonderful kind of love letter to the silent film era, even though it's using a lot of foley sounds and and dubbing of uh of some some lines from some of the different actors. Uh really fun, really fun film. Guy Madden is like, he's such a trickster as far as the kind of films that that he does. And if you've seen his stuff and you you like his stuff, these are our two great additions from Keno Lorber. There's also a another great uh great kind of maybe less influential and less seen, but still impactful in in certain ways, uh, and it is Patricia Rosema's I Heard the Mermaid Singing, which is from the late 1980s, and uh is kind of a uh kind of a Canadian cult classic in terms of uh showing a lesbian character as the main character, which even into the 80s was not a thing that was happening an awful lot, and is uh you know a film that's been really celebrated for for that over the years. And the other one that I have that uh that I really enjoy in the the Canadian aspect is is kind of on another end of things, on the con exploitation aspect of things called The Bloody Brood, which is one of a couple of films that were from this era and uh this director, Julian Rothman. And uh this is a it's a very short film, The Bloody Brood, as a lot of the sort of low-budget, uh, you know, exploitation-y type of films were. I got some real vibes of a film like uh like A Bucket of Blood, which is uh our kind of Roger Corman American International Films classic. Um very similar vibes to that. It also does sort of you know revolve around the the beat generation, I I think that's the correct term for it, kind of the beatnik generation. Um and it does also include a a pretty memorable performance from Peter Falk, who would go on eventually to play Columbo on TV for many, many years. Actually, Columbo is also available in Kino Lorber as well. Um yeah, Bloody Brood is a is kind of a neat little uh neat little film. Ken Exploitation is a is a genre that I'm kind of just getting a little bit more into. And uh yeah, it was it was a good time. It wasn't necessarily the greatest movie in the world, but like I said, Kino, Kino doesn't necessarily worry too much about whether people think their films are good. It's just like, yeah, we're gonna put out a a great little edition of a film like this, and it's uh it's it's appreciated by people like me that have it in their collection. Now, uh the the one I think is that is the biggest chunk of what I have in of Kino Lorber in my collection is is the KL Studio Classics. As I mentioned, I think that's that's a large amount of their current library that's that's available. And um, you know, I don't want to go through absolutely everything I have of theirs because I do have quite a bit, but they have some I have some in my collection that I really enjoy for for one reason or another. Um I talked about the Canadian films, and there's actually a pair of films that have a Canadian connection to them. Uh they are old Randolph Scott Westerns, Canadian Pacific and the Caribou Trail. These were two films done by, and I'm forgetting the name of the studio, but it's a small kind of poverty row sort of studio in the Hollywood era. And they did these two-strip color films shot in Canada. Actually, I believe, if I'm not mistaken, both of these were shot relatively close to where I live in Calgary, which, you know, getting into the Rocky Mountains and kind of near Banff and Canmore and Canonascus and Lake Louise, um, there's and even into parts of British Columbia, that I recognize a lot of this scenery in these films. And the these two films, not only do I have like a connection to them geographically, but this is also really interesting because you know they they do often partner with restoration companies or groups or film societies to really do interesting restorations with some films that otherwise have kind of been lost or have gone through some really severe damage. And these films on the two-color film strip process, um, it's kind of well known if you know anything about like Technicolor film and other color films at different points in time. The two-strip color film process was very cheap, and the film stocks did not age well. I mean, you know, even compared to other celluloid that is more flammable, uh, this was even harsher and really suffered a lot of damage over the years. And the visuals on these two films are not necessarily always the best, and I wouldn't even call them the most vibrant old color films, but it really shows the efforts that Kino Larber is willing to partner with when it comes to bringing these up to snuff, or at least to a point where they can present them. Um, and certainly with these two films, there are spots where it looks spotty in places, but you know, this is uh as as good as they can possibly look at this point in time. So it's a real effort of preservation to have these films existing in the editions that are there, which uh is really commendable on Keno Lorber's side. Keeping with a few KL Studio classic films that were discoveries of mine when I got an edition of them in my collection, um, starting with Charlie Varrick, the the Don Siegel film starring Walter Mathau, uh, I was not expecting to absolutely love this film as much as I did when I actually picked this one up at a thrift store for $2 on Blu-ray and kind of was like, okay, yeah, I'll give this a try. This looks interesting. And uh boy, I you I really get No Country for Old Men vibes from this movie. It's certainly not exactly like No Country for Old Men, um, but the Cohen brothers have have gone on record to say that like not only do they love this film, but it's definitely an inspiration for aspects of No Country for Old Men. Um, you know, despite it being it's starring Walter Mathau, not a comedy at all. This is something very, very different for what Walter Mathau is kind of typically known for. It is a a crime film about a semi-smallish time crook named Charlie Varrick. And, you know, how the fallout of like uh him robbing a bank and kind of going off. There's some some real great kind of action set pieces in this film. You know, Don Siegel is a great director, he's kind of a an undersung classic director that that branched through a lot of different film eras, you know, kind of in post post-Hollywood studio era going into the 60s and 70s. And uh this film really shows that he he had some chops and really knew what he was doing really highly. If you ever get a chance to check out Charlie Varrick for the first time, definitely do. Um, another one that I discovered I I had heard of, but actually hadn't seen until I got a hold of the Kale Studio classic version, is The Children's Hour, which is directed by William Weiler, stars Shirley McLean and Audrey Hepburn and Faye Binter, and is a very well-known film in terms of its portrayal of a um a lesbian woman in Shirley McLean's character, or at least being accused of being a lesbian, and done so uh she's a she's a teacher, and basically is being accused by a student who has told her mother that she thinks the teacher l likes women and the fallout from that. Now, this film was a film from the 50s, 60s, I think, something like that. So it is very much an interesting product of its time uh and some of the the tropes that would go with, you know, homosexual characters. Uh, it does certainly fall into that. It's a film that is, you know, really referenced in documentary like The Celluloid Closet. It's very, very interesting. William Wyler's a great director. This is a film of his that I think maybe is is in that next tier down from some of his all-time greats, or ones that um haven't really gotten as much due as some of the other big ones that he's done. But a really interesting melodrama of a film. Uh, if you're interested in that sort of thing, definitely check it out. There's also a great, great one by John Frankenheimer called The Train, which is one of the last of his like really great run of films that I dearly love, you know, from from Manchurian Candidate to Seconds to uh Grand Prix. I know I'm missing some other ones in here, but the train is one that stars Bert Lancaster and is uh focused on occupied France during World War II. And it talks about, you know, the uh a train that is basically uh be carrying a lot of um precious artifacts from France back to Germany as the Germans are pulling out of Paris and France after the D-Day invasions. They can kind of see the writing on the wall, so they're leaving, and they're also sort of stealing a lot of these these you know priceless French artifacts and art pieces. And uh, you know, there is a plot with the underground resistance to try and divert the train. And this the I the train is great. This is a for me, this is pretty close, if not a five-star film. Um, I have the this version on 4K, it it looks spectacular. John Frankenheimer was just a really great director and was on an absolute roll at this point in time, so the train I cannot recommend enough as well. There's also a lot of, as I mentioned, I I I talk about Billy Wilder probably too much on this podcast. Um, but the I I do love a lot of the Billy Wilder stuff that Keno Larber has put out. Um, some of it is out of print. I think the one, the big one that's kind of expensive is Avonti, which I don't have and I would love because I do really enjoy Avanti. But you know, it's so many of the great Billy Wilder classics, Witness for the Prosecution, Stalog 17, um, 123, Irma Leduce, The Lost Weekend, The Fortune Cookie, The Front Page, Five Graves to Cairo. All of them are available on KL Studio Classics. Um, some of them might be, I don't think any of those ones I mentioned are out of print. Maybe, maybe Five Graves to Cairo, possibly. Um, but you know, some of these are getting re-released. Stalog 17 just had a a new Blu-ray and 4K release, which looks great. Yeah, they, you know, great Billy Wilder stuff. They actually a lot of the early KL Studio stuff was was Billy Wilder films, interestingly enough. And there's a few modern films that I have on the studio classics as well that do look great, even if they are close to ports of other DVDs. Um, but you know, films like Eastern Promises, the David Cronenberg film starring Vigo Mortensen and Naomi Watts. Great film. I was looking at it today thinking, oh, I need to re-watch Eastern Promises. It's so, so good. Uh, Todd Haynes' Far from Heaven, starring Julianne Moore and Dennis Quaid. Unbelievably gorgeous film, looks phenomenal on the Blu-ray from KL Studio Classics. And Tinker Taylor Soldier Spy, starring Gary Oldman and Colin Firth and Benedict Cumberbatch and a whole bunch of other great British actors. Uh, it's an adaptation of the John LeCare uh book. Great film, uh, kind of I think maybe underappreciated from oh, I don't know how long ago this was, if it was 2011, 2012, something like that, uh, in that neighborhood. Uh, really nice additions, even if they are kind of close to older versions, they're available now on uh on KL Studio Classics. And to round it out, uh, you know, because Kino Lorber has done so much for documentaries. I've talked about a couple of documentaries, Man with the Movie Camera being one of them. Um, just some really great documentaries that Kino Lorber has done and will continue to be doing that uh are really worth checking out. And again, you know, take your pick as far as what what you're interested in. A lot of the ones that I have picked are actually documentaries about film in one way or another. One of them is The Atomic Cafe, and I I will get on a little bit of a soapbox for this film. I think this film deserves so much more attention in the modern world. Uh don't I you know that it was not made that long ago, it was made in the 1980s, and it's basically a film that sort of tracks and follows um culture of the world in relation to the atomic bomb. Uh, you know, in and its use originally in World War II, the evolution of, you know, the atomic age and the cold war, how much p the people of the world were affected by the nuclear threat in the atomic age, um, you know, whether it's music, whether it's TV commercials, whether it's you know, like PSAs, like the turtle doing the duck and cover to teach kids what to do if a nuclear bomb goes off at school. Like there's some really Really chilling stuff in it, but the entire documentary is edited together from footage taken from all of these old uh you know, film reels, news reels, interviews on TV, things shown in movies, radio broadcasts, other visuals, newspaper clippings, and it, you know, there's no narration to it. It's just everything is presented in this really entertaining way. Like there's some very funny stuff in the Atomic Cafe, just as much as there is some incredibly, you know, dark stuff that goes in with it. And I feel like people do not talk about the Atomic Cafe nearly as much as they should. I think it's a really unique work of documentary film, especially in the 80s when it came out, even though a lot of these techniques have been used again and again. Um definitely check out the Atomic Cafe. It it needs it deserves more people watching it. Um another one that I I discovered through um through Kino Lorber, and then you know, just hearing about it was like this is right up my alley, is one called Dawson City Frozen Time, which follows a discovery of a huge cachet of buried film cans and film reels in Dawson City up in the Yukon Territory in Canada. And it kind of weaves this idea of Dawson City being the city that was the boom town during the gold rush of the Klondike, and how you know they were there was a demand for films and film houses as all of these people from Canada and America came up to Dawson City and were trying to make their fortune. And, you know, they would show movies there as they were showing a lot of movies in theaters across North America and around the world. And a lot of these films were just being distributed up there, and the distributors, it was going to cost them too much to get them back from Dawson City, so they were kind of ordered to keep these films stored and through several consequences of you know the boom and bust of Dawson City and how things changed. A lot of these film reels actually ended up buried under a building that was built, a like recreation center, and they were rediscovered when there was a property development in the more modern era. Absolutely fascinating because it cross-cuts between not only showing the history and the modern discovery, but also showing some of the actual film in the uh condition that it was pulled out of the ground in. So some of them don't look great at all, but it's like it's this very interesting time capsule. It was one of the most affecting documentaries I've seen in a number of years, actually. To round this out, there's two that I want to shout out that are kind of very direct, you know, documentaries talking about uh someone involved in the film industry. Uh, one of them is called Film Worker, which is a documentary about Leon Vitale, who is a former film actor who turned into a kind of right-hand man for Stanley Kubrick. Um, and he he got to know Stanley Kubrick because Leon Vitale starred in Barry Linden as the older Lord Belingdon. And, you know, he evolved in some very, very famous scenes in that film. And after working on Barry Linden, Leon became quite good friends with Stanley. And after the film was done, instead of continuing on with a career in acting, he actually became very interested in working with Stanley Kubrick to, you know, do research for film projects that he was working on, and eventually just became kind of a jack of all trades of all things Kubrick. You know, he kind of would be the person that Kubrick would call up at all hours of the day to you know get more research or have certain film, you know, prints coming in, or edits of this, or distribution with this, and kind of became like the the guy behind the guy, and the the the other guy being Kubrick. And it's a very interesting documentary because Leon Vitali, even you know, still past Kubrick's death, was very involved with Kubrick's estate and Kubrick's films and restorations and all of these things, and he just is almost like the keeper of the knowledge of Kubrick films in a lot of ways. And he's a very fascinating person, and it's a really interesting documentary. Uh, this one film worker. The other one is called The Kid Stays in the Picture, which is all about Robert Evans, the man who started out also as an actor in classic Hollywood, and eventually would become the head of one of the biggest studios in you know the Hollywood system in Paramount. And he was one of the youngest studio heads in in the history of Hollywood. He was uh you know, young, very, very good-looking young man, kind of known as a little bit of a playboy, was married for a long time to Allie McGraw. And uh it's a film, basically a documentary about him that he was involved in and does have a little bit of voiceover with. So, you know, there's probably a little bit of Robert Evans bias in certain ways, but he's relatively self-deprecating and self-effacing when he is talking in the film. But it's a really interesting look both at someone that you know started out as in front of the camera and went not only behind the camera but into the studio offices and was running a studio and uh you know made it uh really quite interesting as far as his career, and he's kind of a it's kind of a fascinating character of a person in the history of Hollywood. So really enjoyed that one as well. And I I kind of I do love my you know films about films, specifically documentary films about other films, and uh Filmworker and The Kid Stays in the Picture definitely fit that bill. I am gonna kind of cut myself off here before I go too long talking about Kino Lorber. I you definitely could. Kino Lorber, you know, is not only been a company that's been around for a long time, but they they continue to be, I think, a vital part of the physical media landscape and really making, you know, uh a certain kind of film available for people to find these days, which I think is really a noble pursuit. You know, they're not they're not looking to be everyone's favorite, they're not looking to be the most prestigious, they're just looking to put out some great quality physical editions so that people can enjoy these movies over and over again, uh, whether it's brand new ones that they're putting out there or for the most part in what they do, kind of digging into the classics and you know, going through some forgotten films and some that may have slipped through the cracks or ones that people maybe don't care enough about to want to license for a big name boutique label. Uh Kino Lorber, I think they're they're really doing yeoman's work with what they do, and uh I really salute salute what they do. I enjoy them a lot, I think, of of all of the boutique labels that I have in my collection. Uh, it is the you know the second biggest collection that I have behind Criterion. So uh yeah, big shout out to Kino Lorber. And I imagine everybody that's listening probably has an experience with watching something on Kino Lorber discs or having Kino Lorber stuff in their collections. And I would love to hear about some of your favorites when it comes to Kino Lorber. Uh, you know, yeah, I'm sure I would not hear too many of the same films multiple times because there's so much to discover with Kino. Um so yeah, I would love to hear from you. If you want to reach out, you can reach out through Instagram. Uh Instagram's at Cinema on a Shelf, which uh you can also keep tabs on past episodes of Cinema on a Shelf. If you want to follow me on Letterboxd, I do, you know, if I'm reviewing any films that I watch, I do post them on Letterboxd. My Letterbox username is at Maddie236. I would love to follow you back as well. If you want to email about movies, my email is cinemaonashelf at gmail.com. Love to talk anything Kino, Lorber, or otherwise. And if you are interested in more movie podcasting, my wife and I also do a movie podcast together called I Can't Believe You Haven't Seen, where we trade movies with that one or the other of us hasn't seen and then do a podcast episode about it. Um our most recent episode is about Boogie Nights, which my wife watched for the first time. And actually the day after this episode goes live, our next episode on uh the film Orlando, directed by Sally Potter, is gonna be coming out, which I hadn't seen uh until recently for the first time, and was very intrigued to talk about it. So that's the sneak peek coming up for the next episode there. Um, yeah, for for the next episode of Cinema on a Shelf, I'm going to be returning to uh what is fast, becoming one of my favorite episode segment features on uh on this podcast, and that's the collector conversations. I got the chance to do another one of these with uh a really unique collector, and was a real pleasure to sit down and chat with Marta Georgevich from Rewind and Revive, uh also known as Marta McFly on Instagram. She's a big physical media collector, and we had a really interesting conversation about that. So that will be the next episode of Cinema on a Shelf. So check out that uh in the coming weeks. Otherwise, thank you very much for tuning into this episode, and uh until next time, take care.