Jeremy Workman’s Top 10
A frequent Criterion collaborator who has edited many of our trailers, the director of The World Before Your Feet charts the evolution of his movie love through multiple formats and new technologies.
L’humanité: Ordinary Human Behavior
In his idiosyncratic, award-winning second film, Bruno Dumont uses the story of an alienated police detective to investigate the most elemental aspects of human experience.
Tears Left to Cry: Jeon Do-yeon in Secret Sunshine
The Cannes-award-winning lead performance in Lee Chang-dong’s masterful melodrama captures both the pain and perverse pleasure of public crying.
Why Swing Time Is the Greatest of All Dance Films
In this excerpt from an interview on our new edition of the Astaire-Rogers classic, dance critic Brian Seibert explains how beautifully and cleverly the film integrates dance into the structure of a romantic-comedy plot.
Dead Neighbors: Jim Jarmusch on George A. Romero
With his eccentric new zombie movie The Dead Don’t Die coming to theaters, Jim Jarmusch talks with us about the inspiration he drew from the late horror maestro’s postmodern, politically tinged approach to genre.
More Is More: Lessons in Excess from Women in Love
The director of the Sundance hit The Last Black Man in San Francisco reflects on what he learned from Ken Russell’s extravagant style and approach to the subject of male relationships.
Some of cinema’s most memorable moments are fueled by one perfectly chosen tune on the soundtrack. In this series, writers explore what happens when music and image meet.