F for Fake
It’s truly astounding to consider that Orson Welles invented the postmodern-appropriationist-essay film, along with so much else.
Kurosawa’s secret Dickensian masterpiece: sprawling, sentimental, and encompassingly humane.
Michael Powell and Emeric Pressburger
I Know Where I’m Going!
Powell and Pressburger’s most enchanted and fresh film, storm-tossed and full of gothic romance.
An absolutely riveting prison-breakout story. Becker is the bridge between Renoir and the new wave.
Still Cronenberg’s most nerve-racking, efficient, and, ah, penetrating realization of his vision.
A comic-surrealist fugue from the social satirist—one that deepens with each viewing.
If this dry, hilarious, spooky existential vision had been subtitled in, let’s say, Iranian, would it have been better recognized for the masterpiece it is? Linklate’s sensibility is not so far from Kiarostami’s.
The Sword of Doom
I’m still recovering from the out-of-kilter intensity of this film, which feels like some interior journey into darkness rendered as a samurai allegory.
The Man Who Fell to Earth
In Walter Tevis’s novel Roeg found material absolutely suited to his hallucinatory, prophetic style. Mutilated on first release, eternally underrated, this is one of the great films of the seventies.
Whit Stillman’s Top 10
“In trying to come up with a ten best list from the Criterion Collection I thought first of Trouble in Paradise and decided to go online to find the rest. But after only seven pages of Criterion’s online list I already had more than enough for te…
Karyn Kusama’s Top 10
For her list of favorite Criterion titles, the director of Girlfight and Destroyer celebrates the Hollywood classics, cult pleasures, and art-house masterpieces that inspire her, pairing movies that resonate with each other in style and theme.