The Criterion Collection

In town for the New York Film Festival screenings of his much-admired A Christmas Tale, French director Arnaud Desplechin talked to Dennis Lim about his always allusive filmmaking style and his particular influences in making this dysfunctional-family . . . Read more »

This week, the New York Times compiled its special annual holiday movie preview, and judging by Charles Taylor and Stephanie Zacharek’s enthusiasm for a slew of upcoming DVD releases for November and December, it seems critics are looking forward . . . Read more »

Goetz Spielmann’s Revanche, a 2008 festival favorite and Austria’s submission for the best foreign film Oscar, has found a North American home with sister companies Janus Films and the Criterion Collection. In a rare step into the first-run . . . Read more »

“Greek director Costa-Gavras is like Oliver Stone with subtlety,” declares Chris Nashawaty in his Entertainment Weekly review of Missing. More than two decades have passed since Costa-Gavras’s political thriller won awards around the world . . . Read more »

Variety reported today that Mike Nichols is getting ready to direct a remake of Akira Kurosawa’s beloved 1963 thriller High and Low, from a new screenplay by David Mamet, and likely to be executive produced by Martin Scorsese, who originally . . . Read more »

The ongoing rediscovery of the multitude of masterworks that made up the career of Kenji Mizoguchi continues with the release of Eclipse Series 13: Kenji Mizoguchi’s Fallen Women. The set, writes Dennis Lim in the Los Angeles Times, “rescues . . . Read more »

Even if I set out to make a film about a fillet of sole, it would be about me.

– Federico Fellini

TECHNICOLOR, ROME—What a day! After spending the morning with Antonio Salvatori, the original color timer on Rosi’s The Moment of Truth and Antonioni’s Identification of a Woman, we were lucky enough to run into the great master Giuseppe . . . Read more »

Though he had been directing films since the silent era, collaborating with many different film studios in various genres, Kenji Mizoguchi didn’t become an international sensation until after the Second World War, benefiting, as did his compatriot . . . Read more »

The films of Constantin Costa-Gavras are often described as political thrillers, and the phrase is helpful as long as we pause over it a little. There is always a strongly personal element to his stories, a human factor, and the thrills are in . . . Read more »