NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Criterion 4K UHD / Blu-ray (June 2025): Criterion has transferred François Girard's Thirty Two Short Films About Glenn Gould to 4K UHD and Blu-ray. It is cited as a "New 4K digital restoration, supervised and approved by director François Girard". The 4K UHD package has "one 4K UHD disc of the film and one Blu-ray with the film and special features".

While we are in possession of the 4K UHD disc, we cannot resolve the encode yet, and therefore, cannot obtain screen captures. We hope to add to this review at some point in the future. So, the below captures are from Criterion's 2025 1080P Blu-ray transfer.

Cinematographer Alain Dostie’s (François Girard's The Red Violin) work is central to the film’s eclectic aesthetic, adapting to the 32 vignettes’ diverse styles (dramatized reenactments, interviews, archival footage, and abstract sequences.) Sourced from the original 35mm negative, the transfer delivers impressive clarity and detail, particularly in close-ups of Colm Feore’s expressive performance and the crisp framing of recording studios and Canadian landscapes. The restoration enhances the film’s varied visual palette from the muted, earthy tones of dramatized vignettes to the vibrant, saturated colors of abstract segments, like “Passion,” while preserving the grain structure for an authentic filmic look. Black levels are deep and consistent, especially in the cosmic imagery of “The Goldberg Variations” and the snowy expanses of “Lake Simcoe” shimmer with newfound texture. Minor softness in some archival footage is expected, but the overall HD presentation is a significant upgrade from the 2001 DVD. These features and the textures are more pronounced via the 2160P 4K UHD.

NOTE: We have added 62 more large resolution Blu-ray captures (in lossless PNG format) for DVDBeaver Patrons HERE.

On their Blu-ray and 4K UHD, Criterion uses a DTS-HD Master 5.1 surround track (24-bit) in the original English language. Bach’s Goldberg Variations serve as a structural and thematic anchor for Thirty Two Short Films About Glenn Gould, representing Gould’s quest for perfection and spiritual elevation. The film uses the piece to frame his life from his youthful 1955 recording to the introspective 1981 version. Abstract segments, like “Passion” and the closing cosmic imagery, link music to the infinite, portraying Gould’s performances as a bridge to the divine. The 5.1 mix subtly enhances ambient effects, such as wind in “The Idea of North” or studio hums in “Practice,” creating an immersive soundscape without overpowering the music. Dialogue (whether Feore’s soft-spoken Gould or real-life interviewees, like Yehudi Menuhin) is clear and well-balanced. Criterion offers optional English (SDH) subtitles on their Region 'A' / 'B' Blu-ray and Region FREE 4K UHD.

The Criterion 4K UHD and Blu-ray discs offer a new commentary by director François Girard and co-writer-actor Don McKellar (eXistenZ, Blindness, The Red Violin.) It is a highlight, providing detailed breakdowns of each vignette’s intentions, production challenges, and Gould’s influence. A 1/2-hour conversation between Girard and filmmaker Atom Egoyan (The Sweet Hereafter, Exotica, Chloe) explores the film’s place in 1990s Canadian cinema, offering insights into its experimental structure and cultural significance. Two 1959 CBC documentaries, Glenn Gould: Off the Record and Glenn Gould: On the Record (1/2 hour total), provide a fascinating glimpse into Gould’s recording process and private life, showing his interactions with engineers and his Ontario retreat. These companion documentaries about Glenn Gould (both directed by Roman Kroitor and Wolf Koenig in 1959 and produced by the National Film Board of Canada) follow the pianist to his home on Lake Simcoe in Ontario and to New York City, where he meets with sound engineers at Columbia Records and records Bach's Italian Concerto. Archival interviews with Colm Feore (20 minutes) from 2012 and producer Niv Fichman (10 minutes) from 2008 detail Feore’s immersive preparation and Rhombus Media’s mission to honor Gould. A trailer and an essay by critic Michael Koresky (Films of Endearment: A Mother, a Son and the '80s Films That Defined Us) round out the package. 

François Girard's Thirty Two Short Films About Glenn Gould eschews traditional biographical storytelling for a fragmented, mosaic structure inspired by Johann Sebastian Bach’s Goldberg Variations, a piece central to Gould’s legacy. The film comprises 32 vignettes, ranging from under a minute to over ten minutes, each offering a distinct perspective on Gould’s life, personality, and artistry. Rather than a chronological narrative, these segments (blending dramatized reenactments, interviews with real-life associates, archival footage, and abstract sequences) create a kaleidoscopic portrait of the Canadian pianist, who is portrayed by Colm Feore. The vignettes cover key moments, such as Gould’s recording of the Goldberg Variations in 1955 and 1981, his decision to abandon live performances at age 31, his hypochondria, his love of solitude, and his fascination with technology (e.g., radio and recording.) Other segments are more impressionistic, like “Lake Simcoe,” depicting Gould’s childhood, or “Gould Meets McLaren,” imagining a conversation with animator Norman McLaren. The film concludes with “The Goldberg Variations,” pairing Gould’s 1981 recording with cosmic imagery, suggesting his transcendence through music. This non-linear structure mirrors Gould’s own unconventional approach to music and life, prioritizing emotional and intellectual resonance over narrative cohesion. The Criterion 4K UHD and Blu-ray releases of Thirty Two Short Films About Glenn Gould is a definitive presentation of François Girard’s unconventional biopic, offering a stellar showcase for its visual and auditory artistry. The 4K restoration (with its improved detail and bolder colors) elevates the film’s eclectic vignettes, while the lossless surround soundtrack amplifies Gould’s mesmerizing performances to immersive heights. The extras (anchored by an insightful commentary, a thoughtful Egoyan conversation, and rare 1959 documentaries) provide deep context for both Gould’s legacy and the film’s creation. Absolutely recommended.

On a personal note, I consider The Goldberg Variations, BWV 988: Aria to be the most perfect music... ever recorded. This is being fully aware of Gregorian Chants or The Bulgarian State Television Female Vocal Choir. Just say'in.

Gary Tooze