• In My Own Fashion

    By Tamara Hellgren

    Having studied everything but film in college, I never would have imagined that landing a job in the DVD industry would help me get more out of fashion magazines. But sitting in the front office at Criterion, seeing every person and package . . . Read more »

  • The Milky Way: The Heretic’s Progress

    By Carlos Fuentes


    In the mid-sixties, Luis Buñuel became fascinated by the youth rebellion that culminated with the events of May 1968 in Paris and also manifested itself in music, fashion, opposition to institutions, family, and state. Buñuel felt that the . . . Read more »

  • The Milky Way: Easy Striders

    By Mark Polizzotti

    From the moment Luis Buñuel released his iconic Un chien andalou in 1929, ushering avant-garde cinema out of its infancy with the slice of an eyeball, it was clear how much he relished shocking his audiences. But audiences had changed by the . . . Read more »

  • House of Games: On Your Mark

    By Kent Jones

    In 1987, nothing else looked or sounded quite like House of Games. David Mamet’s debut film was a welcome throwback to the primacy of character and careful story construction, at a time when narrative intricacy was in short supply on American . . . Read more »

  • Striking Gold

    By Lee Kline

    When I found out last year that we’d be working on Days of Heaven, I got goose bumps. It’s always been one of my favorite films, and I had wished it could be in the Criterion Collection ever since I started here twelve years ago—that and . . . Read more »

  • Cría cuervos . . . : The Past Is Not Past

    By Paul Julian Smith


    Cría cuervos . . . , Carlos Saura's political and psychological masterpiece, was shot in the summer of 1975, as Spanish dictator Francisco Franco lay dying, and premiered in Madrid's Conde Duque Theatre, on January 26, 1976, forty years after . . . Read more »

  • Eclipse Series 5:
    The First Films of Samuel Fuller

    By Nick Pinkerton

    Instead of calling “Action!” Samuel Fuller discharged a Colt .45 in the air. It was the first scene he had ever directed, on the set of I Shot Jesse James (1949), and he knew the importance of a good opening—“If a story doesn’t give you a . . . Read more »

  • A Monumentally Sad Week

    By Liz Helfgott

    Two towering figures of cinema died this week, and while we can all be grateful that they lived such long and fruitful lives, their departures were nevertheless profoundly saddening, and shocking in their coincidence. Look to your right at our . . . Read more »