By the time he made The Freshman in 1925, Harold Lloyd was already a superstar. His comedies, which combined jaw-dropping derring-do with loveable characters, were routinely among their years’ top box-office attractions. When Lloyd announced he was working on a football-themed film, anticipation was particularly high, as Lloyd expert John Bengtson explains in this excerpt from his new Criterion visual essay Harold Lloyd: Big Man on Campus.
Finding the Life of the Party in Cold Water
Olivier Assayas revived the spirit of the 1970s in one of cinema’s most evocative party sequences, which serves as the centerpiece of his acclaimed 1994 film.
Undressing Souls in Scenes from a Marriage
What does it take for actors to be completely vulnerable with each other? Liv Ullmann and Erland Josephson reflect on the close friendship that informed their work in one of Ingmar Bergman’s most ambitious dramas.