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Dual-format editions include both Blu-ray and DVD versions of a film in a single package. All supplements are available across both formats.
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Ernest Hemingway’s simple but gripping short tale “The Killers” is a model of economical storytelling. Two directors adapted it into unforgettably virile features.
A cornerstone of the French New Wave, the first feature from Alain Resnais is one of the most influential films of all time.
Following Jack Nicholson’s breakout supporting turn in Easy Rider, director Bob Rafelson devised a powerful leading role for the new star in the searing character study Fve Easy Pieces.
Costa-Gavras puts the United States’ involvement in Latin American politics under the microscope in this arresting thriller.
The master of the political thriller, Costa-Gavras became an instant phenomenon after the mammoth success of Z, and he quickly followed it with the equally riveting The Confession.
In this anguished yet mordantly funny film, Fassbinder charts the decline of a self-destructive former policeman and war veteran struggling to make ends meet for his family by working as a fruit vendor.
Charlie Chaplin’s masterful drama about the twilight of a former vaudeville star is among the writer-director’s most touching films. Chaplin plays Calvero, a once beloved musical-comedy performer, now a washed-up alcoholic who lives in a small London flat.
Make Way for Tomorrow, by Leo McCarey, is one of the great unsung Hollywood masterpieces, an enormously moving Depression-era depiction of the frustrations of family, aging, and the generation gap.
In one of the best performances of his legendary career, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in an adaptation by Peter Yates of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle.
Based on the novel by Rumer Godden, the film eloquently contrasts the growing pains of three young women with the immutability of the Bengal river around which their daily lives unfold.
Jean-Pierre Melville began his superb feature filmmaking career with this powerful adaptation of an influential underground novel written during the Nazi occupation of France.
Taking place largely over the course of one tense night, Carol Reed’s psychological noir, set in an unnamed Belfast, stars James Mason as a revolutionary ex-con leading a robbery that goes horribly wrong.
This comic masterpiece by Preston Sturges is among the finest Hollywood satires and a high-water mark in the career of one of the industry’s most revered funnymen.
This landmark film, which documents the journeys of two remarkable families, continues to educate and inspire viewers, and it is widely considered one of the great works of American nonfiction cinema.
An intensely felt film that is one of Bergman’s most striking formal experiments, Cries and Whispers (which won an Oscar for the extraordinary color photography of Sven Nykvist) is a powerful depiction of human behavior in the face of death.
A work of meticulous journalism and gripping drama, it recounts the disturbing tale of Randall Dale Adams, a drifter who was charged with the murder of a Dallas police officer and sent to death row, despite evidence that he did not commit the crime.
With his trademark mixture of empathy and scrutiny, Errol Morris has changed the face of documentary filmmaking in the United States, and his career began with two remarkable tales of American eccentricity.
Truffaut made The Soft Skin at a time when he was immersing himself in the work of Alfred Hitchcock, and that master’s influence can be felt throughout this complex, insightful, and underseen French New Wave treasure.
Federico Fellini’s career achieved new levels of eccentricity and brilliance with this remarkable, controversial, extremely loose adaptation of Petronius’s classical Roman satire, written during the reign of Nero.
This bittersweet film from Jean Renoir, based on a story by Guy de Maupassant, is a tenderly comic idyll about a city family’s picnic in the French countryside and the romancing of the mother and grown daughter by two local men.
A masterpiece from Nicolas Roeg, Don’t Look Now, adapted from a story by Daphne du Maurier, is a brilliantly disturbing tale of the supernatural.
The last film by Yasujiro Ozu was also his final masterpiece, a gently heartbreaking story about a man’s dignifed resignation to life’s shifting currents and society’s modernization.
After a decade in the wilds of avant-garde and early video experimentation, Jean-Luc Godard returned to commercial cinema with this star-driven work of social commentary, while remaining defiantly intellectual and formally cutting-edge.
With a radical take on narrative, disturbing yet beautiful cinematography, and a highly sophisticated use of on- and offscreen sound, Martel turns her tale of a decaying bourgeois family, whiling away the hours of one sweaty, sticky summer, into a cinematic marvel.
A mix of the witty and the utterly absurd, The Palm Beach Story is a high watermark of Sturges’s brand of physical comedy and verbal repartee, featuring sparkling performances.
A work of memory and imagination, the film burrows into what the filmmaker calls “the heart of the heart” of the continent, conjuring a city as delightful as it is fearsome, populated by sleepwalkers and hockey aficionados.
One of the first and best-loved films of this period in his career is The Bitter Tears of Petra von Kant, which balances a realistic depiction of tormented romance with staging that remains true to the director’s roots in experimental theater.
Early in his career, Don Siegel made his mark with this sensational and high-octane but economically constructed drama set in a maximum-security penitentiary.
This collection of Kinoshita’s first films—four made while the war was going on and one shortly after Japan’s surrender—demonstrates the way the filmmaker’s humanity and exquisite cinematic technique shone through even in the darkest of times.
In this unsettling drama from Italian filmmaker Liliana Cavani, a concentration camp survivor (Charlotte Rampling) discovers her former torturer and lover (Dirk Bogarde) working as a porter at a hotel in postwar Vienna.
In this fantastic voyage through time and space from Terry Gilliam, a boy named Kevin (Craig Warnock) escapes his gadget-obsessed parents to join a band of time-traveling dwarfs.
This revelatory drama was named the best film of the 1990s in a Village Voice poll of more than fifty critics.
A startling and courageous film, Peter Davis’s landmark 1974 documentary Hearts and Minds unflinchingly confronted the United States’ involvement in Vietnam at the height of the controversy that surrounded it.
People on Sunday, an effervescent, sunlit silent, about a handful of city dwellers (a charming cast of nonprofessionals) enjoying a weekend outing, offers a rare glimpse of Weimar-era Berlin, would influence generations of film artists around the world.
In the late fifties and early sixties, Basil Dearden created a series of gripping, groundbreaking, even controversial films that dealt with racism, homophobia, and the lingering effects of World War II, noir-tinged dramas that burrowed into corners of London rarely seen on-screen.
Les Blank documents acclaimed German filmmaker Werner Herzog’s ambitious and troubled production of Fitzcarraldo, the story of one man’s attempt to build an opera house deep in the Amazon jungle.
Seemingly off-the-cuff yet poetically constructed, these films are humane, sometimes wry, always engaging tributes to music, food, and all sorts of regionally specific delights.
The concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise, L’eclisse tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) and drifts into a relationship with another (Alain Delon).
Michelangelo Antonioni invented a new film grammar with this masterwork.
It Happened One Night is among the most gracefully constructed and edited films of the early sound era, packed with clever situations and gags that have entered the Hollywood comedy pantheon.
In the midsixties, the maverick American director Monte Hellman conceived of two westerns at the same time. Dreamlike and gritty by turns, these films would prove their maker’s adeptness at brilliantly deconstructing genre.
John Ford takes on the legend of the O.K. Corral shoot-out in this multilayered, exceptionally well-constructed western, one of the director’s very best films.
Trickery. Deceit. Magic. In F for Fake, a free-form sort-of documentary by Orson Welles, the legendary filmmaker (and self-described charlatan) gleefully reengages with the central preoccupation of his career: the tenuous lines between illusion and truth, art and lies.
With a background in music hall and mime performance, Tati steadily built an ever-more-ambitious movie career that ultimately raised sight-gag comedy to the level of high art.
The biggest hit from the most popular Italian filmmaker of all time, La dolce vita rocketed Federico Fellini to international mainstream success—ironically, by offering a damning critique of the culture of stardom.
The wildly prolific German filmmaker Rainer Werner Fassbinder paid homage to his cinematic hero Douglas Sirk with this update of that filmmaker’s 1955 All That Heaven Allows.
A psychologically damaged war veteran and a neglected child begin a startlingly intimate friendship—one that ultimately ignites the suspicion and anger of his friends and neighbors in suburban Paris.
This genuinely frightening, exquisitely made supernatural gothic stars Deborah Kerr as an emotionally fragile governess who comes to suspect that there is something very, very wrong with her precocious new charges.
Roman Polanski imbues his unflinchingly violent adaptation of William Shakespeare’s tragedy of ruthless ambition and murder in medieval Scotland with grit and dramatic intensity.
David Lynch’s 1977 debut feature, Eraserhead, is both a lasting cult sensation and a work of extraordinary craft and beauty.
Assembled with visionary editing that makes dance come alive on-screen as never before, and overflowing with sublime footwork, All That Jazz pushes the musical genre to personal depths and virtuosic aesthetic heights.
Director Shohei Imamura turns this fact-based story—about the seventy-eight-day killing spree of a remorseless man from a devoutly Catholic family—into a cold, perverse, and at times diabolically funny examination of the primitive coexisting with the modern.
This smash road comedy from Oscar-winning director Alfonso Cuarón is a funny and moving look at human desire.
The electric filmmaking genius John Cassavetes and his brilliant wife and collaborator Gena Rowlands give luminous, fragile performances as two closely bound, emotionally wounded souls who reunite after years apart.
In The Forgiveness of Blood, American director Joshua Marston turns his camera on another corner of the world: contemporary northern Albania, a place still troubled by the ancient custom of interfamilial blood feuds.
The success of Erik Skjoldbjærg’s chilling procedural anticipated the international hunger for Scandinavian noirs and serial- killer fictions, and the film features one of Skarsgård’s greatest performances.
A trademark Cronenberg combination of the visceral and the cerebral, this phenomenally gruesome and provocative film about the expanses and limits of the human mind was the Canadian director’s breakout hit in the United States.
French director Jacques Demy didn’t just make movies—he created an entire cinematic world. Demy launched his glorious feature filmmaking career in the sixties, a decade of astonishing invention in his national cinema.
A cornerstone of the career of this most economical and profoundly spiritual of filmmakers, Pickpocket is an elegantly crafted, tautly choreographed study of humanity in all its mischief and grace, the work of a director at the height of his powers.