• White Mane

    By Michael Koresky

    After watching White Mane (1952), viewers shouldn’t be surprised to learn that its director, Albert Lamorisse, began his career as a documentarian. With its lingering views of the harsh, windswept plains of southern France’s rugged Camargue . . . Read more »

  • The Red Balloon

    By Michael Koresky

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    The simplicity and emotional clarity of Albert Lamorisse’s 1956 The Red Balloon have made it one of the most beloved films of all time. The narrative is deceptively airy and pared down: Pascal, a young Parisian boy, retrieves a balloon tied to . . . Read more »

  • Paddle to the Sea

    By Michael Koresky

    Adapted from Holling C. Holling’s classic, Caldecott Award–winning children’s picture book of the same name, originally published in 1941 and still in print today, Paddle to the Sea is director Bill Mason’s paean to nature. Following the . . . Read more »

  • Death of a Cyclist:
    Creating a Modern Spanish Cinema

    By Marsha Kinder

    Juan Antonio Bardem’s Death of a Cyclist (1955), one of the first Spanish films to win the critics’ prize at a major European festival, was crucial in launching the modern Spanish cinema. Bardem came directly from his triumph at Cannes to the . . . Read more »

  • Eclipse Series 10:
    Silent Ozu—Three Family Comedies

    By Michael Koresky

    There’s an irony to the fact that Japanese master filmmaker Yasujiro Ozu lived his life as a bachelor, for he made some of the world’s most insightful, lived-in, and emotionally authentic films about marriage and parenthood. Today he is . . . Read more »

  • There’s Treasure Everywhere

    By Michael Koresky

    Judging from many of the reactions we get from viewers, there’s a gratifying sense of discovery that accompanies each new Eclipse release. That comes as little surprise to us, since that same feeling is as alive and well here in the Criterion . . . Read more »

  • Blast of Silence: Bad Trip

    By Terrence Rafferty

    Allen Baron’s stark, moody Blast of Silence (1961) is a movie of many strange distinctions. It’s among the last of the true film noirs, those fatalistic black-and-white urban crime dramas that darkened the American screen so gloriously in the . . . Read more »

  • Jules Dassin, 1911–2008

    By Issa Clubb

    As a generation of artists passes, the deaths often seem to come eerily close together, amplifying their individual achievements. In the past couple of weeks, we’ve lost The Naked City screenwriter Malvin Wald, then the incomparable Richard . . . Read more »