10 Things I Learned: One Sings, the Other Doesn’t
The producer of our edition of Agnès Varda’s feminist musical explores the film’s roots in the women’s movement and how the director achieved its warm, playful tone.
Hedwig and the Angry Inch: She Sings the Body Electric
A work of rapturous energy, John Cameron Mitchell’s beloved debut feature is a freewheeling rock-and-roll musical suffused with heartbreak and pleasure.
Combining elements of her own paintings with an improvisatory Photoshop process, artist Vivienne Flesher captured the grim beauty of Bruno Dumont’s cinema for our releases of La vie de Jésus and L’humanité.
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.
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.