• Victory for the Lorax

    By Tamara Hellgren

    In an effort to go green this summer, the Criterion offices were declared a “paper-cup-free zone.” Coffee is now dispensed exclusively into “real” coffee cups (which number roughly in the hundreds), and a lovely array of Janus 50th Anniversary . . . Read more »

  • The Lake (Ontario) Effect

    By Liz Helfgott

    I set out on my first trip to the Toronto Film Festival ready to feast on films and spend relaxed, indulgent, quality time with writers I work with, or hope to work with, as the editorial director here at Criterion. And I wasn’t disappointed on . . . Read more »

  • Martha Graham on Film

    By Joan Acocella

    In 1956 Nathan kroll, a violinist turned radio composer and producer, asked Martha Graham if he could make a movie about her and her work. Absolutely not, she said. Like many choreographers of her time, she felt that dance could not be . . . Read more »

  • The Threepenny Opera: Doubles and Duplicities

    By Tony Rayns

    Ladies and gentlemen, you will now hear the strange and comical history of how an eighteenth-century English play went through diverse transformations and finally became a hit movie banned by the Nazis . . . The initial impetus came from . . . Read more »

  • The Adventures of Pierre et Bertrand

    By Peter Becker

    Some people have seen an impossible number of movies, and the most astonishing part is that they actually remember them all. Pierre Rissient, who is very much on our minds these days, is one of those. Producer, director, distributor, talent . . . Read more »

  • Reality at 25/24 Frames per Second

    By Peter Becker

    Here’s a Criterion discussion that won’t die. It has to do with Berlin Alexanderplatz, and it came up again this week, thanks to a couple of customers writing in. We were standing there in a clump outside our production manager’s door—the disc . . . Read more »

  • Views from the Other Side of the Mountain

    By Jonathan Turell

    I’m on a flight back from the Telluride Film Festival and two and a half great days in the mountains. Telluride has been an important festival for Criterion and Janus for years. It’s a great opportunity to mingle with filmmakers and others who . . . Read more »

  • Night on Earth:
    Last Stop, Helsinki

    By Peter von Bagh

    A taxi, without a client in the car or anywhere else in sight, goes around Helsinki’s Senate Square, a place that resonates with history, having seen more patriotism, class struggle, and celebration than any other place in faraway Finland. It . . . Read more »

  • Night on Earth:
    Rome—Superficial Impressions about Jarmusch

    By Goffredo Fofi

    Jim Jarmusch is a difficult director because he works from the frontiers. What does it mean to be a “frontier” director in the film world today?It means a clear refusal, for ethical and aesthetic reasons, to be part of the mass of none-too-wild . . . Read more »

  • Night on Earth:
    Paris—Talk the Talk

    By Bernard Eisenschitz

    A conversation, a misunderstanding. The basic pattern in many of Jim Jarmusch’s films is two characters, sometimes three, bound together by chance and wandering along toward an ill-defined goal, each trying all the while to get to know the . . . Read more »

  • Night on Earth:
    New York—Jim Jarmusch, Poet

    By Paul Auster

    As the opening credits for Night on Earth begin to roll, we are informed that the film is a Locus Solus Production. A curious name, no doubt unfamiliar to most people, but one that reveals a great deal about Jim Jarmusch’s sensibility—what . . . Read more »

  • Night on Earth:
    Los Angeles—Passing Through Twilight

    By Thom Andersen

    I was a cab driver once myself (in Los Angeles, in the mid-1970s), and I’ve been sensitive ever since to how the profession is portrayed on the screen. As it happened, I was driving a cab when Taxi Driver came out, and I was offended by its . . . Read more »

  • Paradise Regained

    By J. Hoberman

    It came from nowhere, it’s always been here—or so Stranger Than Paradise might seem.Jim Jarmusch had completed his first feature, Permanent Vacation, in 1980 and spent the next four years working on his second. Screened a few times as a . . . Read more »

  • Stranger Than Paradise: Enter Jarmusch

    By Geoff Andrew

    Very few movies count as truly significant milestones in the development of American “indie” cinema during the last quarter of the twentieth century. They include Eraserhead (1977) and Return of the Secaucus Seven (1979), as early trailblazers; . . . Read more »