What are dual-format editions?
Dual-format editions include both Blu-ray and DVD versions of a film in a single package. All supplements are available across both formats.
A free way to build your virtual collection, make lists, and share them. It’s your new home on Criterion.com.
Learn More »
A fairy tale grounded in poignant reality, the magnificent, Manhattan-set The Fisher King, by Terry Gilliam, features Jeff Bridges and Robin Williams in two of their most brilliant roles.
A girl on the verge of womanhood finds herself in a sensual fantasyland of vampires, witchcraft, and other threats in this eerie and mystical movie daydream.
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.
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.
Winner of the Academy Award for Best Foreign Language Film, Ingmar Bergman’s The Virgin Spring is a harrowing tale of faith, revenge, and savagery in medieval Sweden.
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.
This sensual and striking chronicle of a disappearance and its aftermath put director Peter Weir on the map and helped usher in a new era of Australian cinema.
By the midsixties, Ingmar Bergman had already conjured many of the cinema’s most unforgettable images. But with the radical Persona, this supreme artist attained new levels of visual poetry.
To rid a terror-stricken village of corruption, wily masterless samurai Sanjuro (Toshiro Mifune) turns a range war between two evil clans to his own advantage in Akira Kurosawa’s visually stunning and darkly comic Yojimbo.
Seeking a Pulitzer Prize, reporter Johnny Barrett (Peter Breck) has himself committed to a mental hospital to investigate a murder. As he closes in on the killer, insanity closes in on him. Sam Fuller’s Shock Corridor masterfully charts the uneasy terrain between sanity and madness.
Seconds, directed by John Frankenheimer, concerns a middle-aged banker who, dissatisfied with his suburban existence, elects to undergo a strange and elaborate procedure that will grant him a new life.
It’s 1968, and the whole world is watching. With the U.S. in social upheaval, famed cinematographer Haskell Wexler decided to make a film about what the hell was going on. Medium Cool, his debut feature, plunges us into the moment.
This fleet and gripping film is the first of the early thrillers the Master of Suspense, Alfred Hitchcock, made during the fertile phase of his career spent at the Gaumont-British Picture Corporation.
In 1967 and 1968, the company created four certifiably batty, low-budget fantasies, tales haunted by watery ghosts, plagued by angry insects, and stalked by aliens—including one in the form of a giant chicken-lizard.
In Luis Buñuel’s deliciously satiric Oscar winner, an upper-class sextet sits down to dinner but never eats, their attempts continually thwarted by a vaudevillian mixture of events both actual and imagined.
A frank exploration of voyeurism and violence, Michael Powell’s extraordinary film is the story of a psychopathic cameraman—his childhood traumas, sexual crises, and murderous revenge as an adult.
Tom Courtenay is Billy Fisher, the underachieving undertaker’s assistant whose constant daydreams and truth-deficient stories earn him the nickname “Billy Liar.” Deftly veering from gritty realism to flamboyant fantasy, Billy Liar is a dazzling and uproarious classic.
Made with its director’s customary precision and wit, Jim Jarmusch’s Mystery Train is a triptych of stories that pay playful tribute to the home of Stax Records, Sun Studio, Graceland, Carl Perkins, and, of course, the King himself, who presides over the film like a spirit.
With Vampyr, Danish filmmaker Carl Theodor Dreyer’s brilliance at achieving mesmerizing atmosphere and austere, profoundly unsettling imagery was for once applied to the horror genre. Yet the result is nearly unclassifiable. Vampyr is one of cinema’s great nightmares.
John Cassavetes was a genius, a visionary, and the progenitor of American independent film, but that doesn’t begin to get at the generosity of his art.
In Sam Fuller’s hardboiled classic, a petty crook and an unsuspecting woman find themselves on the run from Communists in a precarious gambit.