---
product_id: 46174716
title: "Night and Fog (The Criterion Collection) [DVD]"
brand: "criterion collection"
price: "¥5496"
currency: JPY
in_stock: true
reviews_count: 21
category: "DVD"
url: https://www.desertcart.jp/products/46174716-night-and-fog-the-criterion-collection-dvd
store_origin: JP
region: Japan
---

# Night and Fog (The Criterion Collection) [DVD]

**Brand:** criterion collection
**Price:** ¥5496
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Night and Fog (The Criterion Collection) [DVD] by criterion collection
- **How much does it cost?** ¥5496 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.jp](https://www.desertcart.jp/products/46174716-night-and-fog-the-criterion-collection-dvd)

## Best For

- criterion collection enthusiasts

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- Trusted criterion collection brand quality
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## Description

Night and Fog (The Criterion Collection) [DVD]

## Images

![Night and Fog (The Criterion Collection) [DVD] - Image 1](https://m.media-amazon.com/images/I/31YXI1sNrIL.jpg)
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## Customer Reviews

### ⭐⭐⭐⭐⭐ 







  
  
    Oh, the horror…
  

*by J***I on Reviewed in the United States on August 8, 2019*

…raised to many powers. Not in the distant Congo, but rather in the heart of Europe.I’ve recently been re-viewing many of the movies that I’ve seen in the movie theaters of my youth. I’ve again watched two of Alain Resnais’ classics: “Hiroshima Mon Amour,” and “Last Year at Marienbad.”  I’ve posted my reviews of them on Amazon, so, as is its custom, Amazon suggested this third work of Resnais. Blame it on burnt out synapses, if you will, but I cannot recall if I saw this film previously… but I think I have. It is hard to forget the “bulldozer” clip, which made an impression half a century ago, though it could have been in another film. Since the movie is only 30 minutes long, it was more difficult for a movie theater to show it… too short for a “feature,” too long for a leader.Resnais brilliantly captured the horror of the Nazi concentration camps like Auschwitz. The film is in black and white, shot ten years after the end of World War II. There is the stark contrast between the now peaceful pastoral countryside and the empty buildings, constructed for human disposal. One of the buildings is nominally a “hospital.” In this building horrendous experiments were conducted on the inmates. Simple “disposal” in a gas chamber would have been much more preferable to these tortures.The director balances views of the empty buildings of today with pictures taken during the war, of the Jews wearing the yellow “Star of David,” and being deported in cattle cars, which were far too crowded, resulting in both madness and death of some of the occupants. Resnais highlights how “nothing was wasted,” and there were rooms full of eyeglasses. In another scene, there is a room full of human hair, which is turned into cloth. Even the bodies themselves become fertilizer.“I am not responsible.”  After the fall of the Third Reich, the refrain denying responsibility for the horror of the camps and the deaths of so many people, was seemingly universal. Resnais includes clips of the “capos,” usually common criminals who were the first echelon bosses in the camps, uttering the first sentence in this paragraph. Ditto for their better dressed bosses. Also included is a clip of the well-dressed wife of the commandant of the camp having tea.That awful image will always remain with me. So many skeletal bodies, some with gaping holes, piled high, and the implicit threat of the rapid spread of disease that meant that only a bulldozer was the suitable mechanism to be deployed for their burial in a mass grave.The charge of “racist” is in the common political discourse in the United States today. There is no question that this film provides a none-too-subtle two-by-four to the side of the head as to where very real racism can lead. 5-stars for another excellent movie by Alain Resnais.

### ⭐⭐⭐⭐⭐ 







  
  
    slices right at your heart!
  

*by K***R on Reviewed in the United States on July 30, 2016*

cuts you right to the bone man will have you shaking with anger overcome with tears and blinded by rage all in only 32 minutes! i just watched this  after hearing about it from my Mom and these images will be forever seared into my brain I was just overcome by sadness at the sheer brutality and horror of these images of the Holocaust my tears flowed freely and I'm not ashamed to admit that you will never experience a film about the Holocaust as powerful as this one books are one thing but images like this are quite another but it's not for children it's really disturbing but if you think you're brave enough then take a look at this film I think this should be required viewing for everyone I will never forget this film as long as I live and I hope future generations will join me in proclaiming Never Again

### ⭐⭐⭐⭐⭐ 







  
  
    Important Documentary...Makes Small a Generation of New Wave French Film Directors
  

*by C***R on Reviewed in the United States on February 3, 2016*

Brilliant film with persuasive and detailed arguments made by Resnais about his countrymen and women's involvement with the Nazis, the Holocaust, WWII, etc. etc., even the brutality shown to the women -- in particular -- who were seen as collaborators with the Nazis once France was liberated.  Pulls no punches.  This movie was made and shown before the "great" French New Wave auteurs and others took over French language film, yet none of them -- not one, not in one movie, EVER -- did they deal with the difficult topics that Resnais does in this valuable film.  Why didn't the New Wave, who all grew up or were young adults in Vichy France, ever make a film about their own country during this time; their own experiences.  Malle and later French directors surely took up the burden set down here by Resnais, but not Truffaut ("The 400 Blows" autobiographically should be set in Truffaut's Vichy-run childhood; we should be looking at some of Resnais' questions, but Truffaut moves up his own autobiographical film to the post-war, 1950s, "Leave it to Beaver" era); not Godard (the man who invented all of the devices overused to poor effect in countless modern music videos).Special mention should be made that this film had the great Chris Marker as its cinematographer.  He manages to make archival photos necessary to Resnais' narrative (this is a documentary but it has a compelling, accusatory storytelling quality to it) come alive long before Ken Burns and his followers made really good documentaries.  What Marker (renamed himself for the invention of the "Magic Marker" -- strange but true) does in this film he raises to new heights in his own films like La Jetee.

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*Product available on Desertcart Japan*
*Store origin: JP*
*Last updated: 2026-02-26*