The Virgin Spring
I put myself through college working as a projectionist for the film program, and this was the first film I showed. Its images still haunt me. This film first brought Bergman together with his acclaimed cinematographer Sven Nykvist, and it brought them to me.
Juliet of the Spirits
This was Fellini’s first film in color. Fellini, along with cinematographer Gianni di Venanzo, experimented with this exciting new medium. There’s an enthusiasm and boldness to the use of color in it, and it shapes the way I think about color in film even today.
The disturbing images in this Polanski film have stayed with me since I first saw it. Catherine Deneuve’s descent into darkness reminds me that powerful cinema can take you inside another person’s head and show you horror through their eyes.
By Brakhage: An Anthology, Volume One
Stan Brakhage looked at film in a way that was exciting for me. He was never hampered by traditional storytelling or theatrically crafted scenes. Or even by cameras themselves. The images in his groundbreaking films set my imagination free to look at the medium in a new way.
Murmur of the Heart
This brilliant film about a boy’s coming of age introduced me to French cinema. Malle creates a fascinating picture of French family life; it’s both a comedy and a story of alienation. The mood of the more intimate scenes stays with me, as does the great jazz score.
Carnival of Souls
The images in this film still scare me, though I’ve seen it many times. I first watched it late at night, alone, in my empty apartment. The story isn’t that compelling, but the juxtapositions of frightening images will keep you up all night.
Picnic at Hanging Rock
The power of this film is in the way it sustains the sense of mystery throughout. A young girl disappears, and we never really learn how or why. Cinematographer Russell Boyd helps create the ominous mood with photography that is beautiful and threatening at the same time.
Wong Kar Wai
In the Mood for Love
This film about intimacy and longing was the first movie I saw by Wong Kar-wai. He has found a way to draw you into the personal lives of strangers and wrap you in their secrecy. The visual style and sense of color still intrigue me.
Bill Hader’s Top 10
In compiling his top ten Criterion editions, Hader says, “I couldn’t pick ten . . . sorry. So I programmed Criterion double features, which is what I tend to do on Sunday nights anyway.”
Hossein Amini’s Top 10
The Iranian-British Hossein Amini received an Academy Award nomination for his 1997 screenplay adaptation of Henry James’s The Wings of the Dove and wrote the screenplays for Jude (1995), The Four Feathers (2002), and Drive (2011).
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.
Edson Oda’s Top 10
The Sundance-award-winning director of Nine Days shares a selection of favorite films that range from lyrical masterpieces like Wings of Desire to rule-breaking mind-benders like Being John Malkovich.