Criterion’s new box set, “The Complete Kubrick,” brings together 16 films and supporting materials, but assembling it required more than restoring the director’s best-known work. Producer and archivist Michael Chaiken told IndieWire that the team had to consider what “complete” meant while adapting Kubrick’s films for modern home video formats he never encountered during his lifetime.

The project began in 2024 with work on “Eyes Wide Shut.” Criterion already had a close history with Kubrick from its laser disc releases, and Warner Bros. had preserved the original materials for his final five films. The earlier independent productions proved harder to gather, with rights questions nearly holding up the entire set.

One challenge was “The Seafarers,” Kubrick’s 1953 documentary made for the Seafarers International Union. The team had to establish who held the rights before it could be included. Another key addition was Kubrick’s original 12-minute version of “Day of the Fight,” his 1951 documentary. The version released by RKO had been re-edited with additional footage and changed narration and music. Finding the original elements allowed Criterion to present Kubrick’s cut alongside the RKO version.

The set also includes both versions of “The Shining.” Kubrick shortened the film by 25 minutes for its 1980 international release, but that cut had not been available in the United States. Chaiken said the shorter version was Kubrick’s final edit, and argued that a collection aiming to cover his work needed to include it. Criterion retained Garrett Brown’s original commentary for the U.S. version and commissioned a new commentary for the international cut from filmmaker Lee Unkrich.

Sound presented a different challenge. Kubrick preferred mono, telling collaborators he would rather have good mono than bad stereo. Criterion provides 5.1 mixes, but makes the mono version the default and created new masters from the original mono materials. For “Full Metal Jacket,” the team struggled to identify the correct theatrical mix. Editor Nigel Galt helped them verify it by pointing out that “Paint It Black” played faster during the original end credits. The new set preserves that version of the song.

The team also had to adapt the films to 4K and HDR without making them look unlike Kubrick’s intentions. Chaiken said that sharper video can reveal shadow details the director may not have wanted audiences to see. Working with “Eyes Wide Shut” cinematographer Larry Smith, Warner Archives and other collaborators, Criterion compared multiple versions of the transfers. For many films, the process involved reducing HDR and choosing a warmer, more film-like color grade.

Research into Kubrick’s earlier home-video work helped guide those decisions. Chaiken spoke with Maria Palazzola, who supervised restorations and transfers for Criterion in the 1980s and ’90s and worked directly with Kubrick. She told him that the director understood the limitations of video and wanted his films to look as good as possible within them. For “2001: A Space Odyssey,” Kubrick focused on ensuring that the front projection in the “Dawn of Man” sequence did not reflect in the apes’ eyes, and on keeping the final French boudoir reel from appearing too bright.

Visual artist Drusilla Adeline, also known as Sister Hyde, designed the box around the idea of “Kubrick at work.” The collection’s layout separates films with tabs and posters and clarifies which versions, audio tracks and extras are included. “The Complete Kubrick” is now available.}

Sources: IndieWire.