The Current

An online magazine covering film culture past and present

Merrily We Go to Hell: Gingerbread, Cake, and Crème de Menthe
Merrily We Go to Hell: Gingerbread, Cake, and Crème de Menthe

Dorothy Arzner’s deeply cynical portrait of marriage exemplifies the director’s ambivalence toward the norms dictating female behavior, wielding ironic detachment to mask one woman’s simmering inner turmoil.

By Judith Mayne

Fast Times at Ridgemont High: A Kid’s-Eye View
Fast Times at Ridgemont High: A Kid’s-Eye View

One of the most influential high-school movies ever made, Amy Heckerling’s debut feature is both a raunchy crowd-pleaser and a keen sociological snapshot of teen culture.


By Dana Stevens

Mother and Son: Michael Koresky Celebrates a Bond Forged in Cinema
Mother and Son: Michael Koresky Celebrates a Bond Forged in Cinema

In his new book, Films of Endearment, the critic revisits ten favorite films with his mother and grapples with how her ways of seeing have shaped his.

By Durga Chew-Bose

Beyond the Western: The Staggering Range of Ennio Morricone
Beyond the Western: The Staggering Range of Ennio Morricone

The legendary film composer may be best known for his work on Sergio Leone’s iconic visions of the American frontier, but a closer listen reveals his mastery of a wide variety of genres, sounds, and styles.

By Nate Chinen

Home Is Where the Struggle Is: Victoria Keith’s Activist Lens in The Sand Island Story

Deep Dives

Home Is Where the Struggle Is: Victoria Keith’s Activist Lens in The Sand Island Story

Residents of a neglected Hawaiian island fight against eviction and mistreatment in this consciousness-raising documentary from 1981, now playing on the Criterion Channel.

By E. Tammy Kim

Isabel Sandoval’s Closet Picks
Isabel Sandoval’s Closet Picks

The multitalented auteur selects a few all-time favorites that reflect her bold cinematic style, as well as a number of movies she’s excited to see for the first time.

Irma Vep: Film in Flux
Irma Vep: Film in Flux

In what became his biggest hit to date, Olivier Assayas turned his methods of postmodern reflection onto his own medium, which was being drastically transformed by digitization and globalization at the end of the twentieth century.

By Aliza Ma

Chosen Family: The Tenderness in Midnight Cowboy

One Scene

Chosen Family: The Tenderness in Midnight Cowboy

The director of Test Pattern examines how toxic masculinity gets in the way of the domestic bliss briefly enjoyed by the film’s downtrodden protagonists.

By Shatara Michelle Ford

The Criterion Channel’s May 2021 Lineup

Channel Calendars

The Criterion Channel’s May 2021 Lineup

In this packed month of programming, we celebrate the work of Gena Rowlands, Satyajit Ray, Dalton Trumbo, Mitchell Leisen, and other luminaries.

10 Things I Learned: Memories of Murder
10 Things I Learned: Memories of Murder

The producer of our edition of this unnerving procedural shares details about director Bong Joon Ho’s approach to visual style, his commitment to verisimilitude, and the lengths to which actor Kim Sang Kyung went in order to portray his character.

By Curtis Tsui

Worlds Away

First Person

Worlds Away

Obsessed with the lure of memory and the stigma of social otherness, Terence Davies’s The Long Day Closes inspires this writer to take her own winding journey into the past.

By Ella Taylor

Video

Gian Galang Summons the Kinetic Energy of a Martial-Arts Icon
Inside Criterion  – 29 Jun 2020