What are dual-format editions?
Dual-format editions include both Blu-ray and DVD versions of a film in a single package. All supplements are available across both formats.
A free way to build your virtual collection, make lists, and share them. It’s your new home on Criterion.com.
Learn More »
dudlyarse: “Someone else mentioned it, but hopefully this opens the door to a Criterion treatment for "Bienvenido Mr. Marshall." Exciting!”
Winner of the Palme d’Or at Cannes in 1978, The Tree of Wooden Clogs is intimate in scale but epic in scope—a towering, heart-stirring work of humanist filmmaking.
Delivering stylish thrills and a body count that defies belief, Lone Wolf and Cub is beloved for its brilliantly choreographed action sequences as well as its tender depiction of the bonds between a parent and a child.
At once a wuxia film, the tale of a spiritual quest, and a study in human nature, A Touch of Zen is an unparalleled work in Hu’s formidable career and an epic of the highest order.
This heartrending masterpiece by Kenji Mizoguchi about the give-and-take between life and art marked the first full realization of the hypnotic long takes and eloquent camera movements that would come to define the director’s films.
The Last Temptation of Christ, by Martin Scorsese, is a towering achievement. Though it initially engendered enormous controversy, the film can now be viewed as the remarkable, profoundly personal work of faith that it is.
This masterwork by Krzysztof Kieślowski is one of the twentieth century’s greatest achievements in visual storytelling.
Two decades after its original negatives were burned in a fire, Satyajit Ray’s breathtaking milestone of world cinema rises from the ashes in a meticulously reconstructed new restoration.
A wild horse saves a young boy’s life after a terrifying shipwreck and the two become unlikely friends in Carroll Ballard’s cinematic tour de force, adapted from Walter Farley’s classic children’s novel.
A fairy tale grounded in poignant reality, the magnificent, Manhattan-set The Fisher King, by Terry Gilliam, features Jeff Bridges and Robin Williams in two of their most brilliant roles.
The biggest hit from the most popular Italian filmmaker of all time, La dolce vita rocketed Federico Fellini to international mainstream success—ironically, by offering a damning critique of the culture of stardom.
Assembled with visionary editing that makes dance come alive on-screen as never before, and overflowing with sublime footwork, All That Jazz pushes the musical genre to personal depths and virtuosic aesthetic heights.
Early in his career, Don Siegel made his mark with this sensational and high-octane but economically constructed drama set in a maximum-security penitentiary.
Featuring sensuous cinematography, a lush score, and an award-winning central performance by the great Toni Servillo, this transporting experience by the brilliant Italian director Paolo Sorrentino is a breathtaking Felliniesque tale of decadence and lost love.
By the midsixties, Ingmar Bergman had already conjured many of the cinema’s most unforgettable images. But with the radical Persona, this supreme artist attained new levels of visual poetry.
This evocative period piece, faithfully adapted from the A. E. Hotchner memoir, is among the versatile Soderbergh’s most touching and surprising films.
As nervy as it is hilarious, this screwball masterpiece from Ernst Lubitsch stars Jack Benny and, in her final screen appearance, Carole Lombard as husband-and-wife thespians in Nazi-occupied Warsaw who become caught up in a dangerous spy plot.
Based on a novel by Vladislav Vančura, this stirring and poetic depiction of a feud between two rival medieval clans is a fierce, epic, and meticulously designed evocation of the clashes between Christianity and paganism, humankind and nature, love and violence.
A landmark collaboration between writer H. G. Wells, producer Alexander Korda, and designer and director William Cameron Menzies, Things to Come is a science fiction film like no other, a prescient political work that predicts a century of turmoil and progress.
This invigorating film from Mike Leigh was his first international sensation. Melancholy and funny by turns, it is an intimate portrait of a working-class family in a suburb just north of London.
Marlon Brando gives the performance of his career as the tough prizefighter-turned-longshoreman Terry Malloy in this masterpiece of urban poetry.
Max Ophuls’s final film, Lola Montès is at once a magnificent romantic melodrama, a meditation on the lurid fascination with celebrity, and a one-of-a-kind movie spectacle.
New German Cinema pioneer Wim Wenders (Wings of Desire) brings his keen eye for landscape to the American Southwest in Paris, Texas, a profoundly moving character study written by Pulitzer Prize–winning playwright Sam Shepard.
Max Ophuls brings his astonishing visual dexterity and storytelling bravura to this triptych of tales by Guy de Maupassant about the limits of spiritual and physical pleasure.
Soldiers, chambermaids, poets, prostitutes, aristocrats—all are on equal footing in Max Ophuls’s multicharacter merry-go-round of love and infidelity.
Eric Rohmer stood apart from his New Wave contemporaries, like François Truffaut and Jean-Luc Godard, with his patented brand of gently existential, hyperarticulate character studies set against vivid seasonal landscapes. The “Six Moral Tales” unleashed a new voice onto the film world.
The extraordinary, internationally embraced Yi Yi (A One and a Two . . .), directed by the late Taiwanese master Edward Yang, follows a middle-class family in Taipei over the course of one year, beginning with a wedding and ending with a funeral.
Based on the classic Emile Zola novel, Jean Renoir’s La bête humaine, a suspenseful journey into the tormented psyche of a workingman, was one of the director’s greatest popular successes—and earned star Jean Gabin a permanent place in the hearts of his countrymen.
This landmark film, which documents the journeys of two remarkable families, continues to educate and inspire viewers, and it is widely considered one of the great works of American nonfiction cinema.
Les Blank documents acclaimed German filmmaker Werner Herzog’s ambitious and troubled production of Fitzcarraldo, the story of one man’s attempt to build an opera house deep in the Amazon jungle.
Based on the novel by Rumer Godden, the film eloquently contrasts the growing pains of three young women with the immutability of the Bengal river around which their daily lives unfold.
In his late, color masterpiece, Akira Kurosawa returns to the samurai film and to a primary theme of his career—the play between illusion and reality. Sumptuously reconstructing the splendor of feudal Japan and the pageantry of war, Kurosawa creates a meditation on the nature of power.
Scenes from a Marriage chronicles the many years of love and turmoil that bind Marianne (Liv Ullmann) and Johan (Erland Josephson) through matrimony, infidelity, divorce, and subsequent partners.
In Ronald Neame’s film of Joyce Cary’s classic novel, Alec Guinness transforms himself into one of cinema’s most indelible comic figures: the lovably scruffy painter Gulley Jimson.
Among the most praised and sought-after titles in all contemporary film, this singular masterpiece of Taiwanese cinema, directed by Edward Yang, finally comes to home video in the United States.
Genius provocateur Nagisa Oshima, an influential figure in the Japanese New Wave of the 1960s, made one of his most startling political statements with the compelling pitch-black satire Death by Hanging.
Wim Wenders pays loving homage to rough-and-tumble Hollywood film noir with The American Friend, a loose adaptation of Patricia Highsmith’s novel Ripley’s Game.
The Red Shoes, the singular fantasia from Michael Powell and Emeric Pressburger, is cinema’s quintessential backstage drama, as well as one of the most glorious Technicolor feasts ever concocted for the screen.
Two unique versions of Maxim Gorky’s classic proletariat play, adapted by two of cinema’s greatest directors: Jean Renoir and Akira Kurosawa.
The Samurai Trilogy, directed by Hiroshi Inagaki and starring the inimitable Toshiro Mifune, was one of Japan’s most successful exports of the 1950s, a rousing, emotionally gripping tale of combat and self-discovery.
Mikio Naruse is one of the most popular directors in the history of Japanese cinema, a crafter of heartrending melodramas often compared with the work of Yasujiro Ozu and Kenji Mizoguchi.
A profoundly stirring evocation of elemental humanity and universal heartbreak, Tokyo Story is the crowning achievement of the unparalleled Yasujiro Ozu.
During his first decade at Shochiku studios, where he dabbled in many genres, Ozu put out a trio of precisely rendered, magnificently shot and edited silent crime films
In these three droll domestic films—Tokyo Chorus, I Was Born, But . . . , and Passing Fancy—Ozu movingly and humorously depicts middle-class struggles and the resentments between children and parents.
An aging actor returns to a small town with his troupe and reunities with his former lover and illegitimate son, a scenario that enrages his current mistress and results in heartbreak for all, in Yasujiro Ozu’s 1934 silent classic and his 1959 color remake.
Centered on the modern sensibilities of the younger generation, these delicate family dramas are marked by an exquisite formal elegance and emotional sensitivity about birth and death, love and marriage, and all the accompanying joys and loneliness.
These rare early films from Yasujiro Ozu, The Only Son and There Was a Father , are considered by many to be two of the Japanese director’s finest works, paving the way for a career among the most sensitive and significant in film history.
With Vampyr, Danish filmmaker Carl Theodor Dreyer’s brilliance at achieving mesmerizing atmosphere and austere, profoundly unsettling imagery was for once applied to the horror genre. Yet the result is nearly unclassifiable. Vampyr is one of cinema’s great nightmares.
Agnès Varda used the skills she honed early in her career as a photographer to create some of the most nuanced, thought-provoking films of the past fifty years.
Vienna-born, New York–raised Josef von Sternberg directed some of the most influential, extraordinarily stylish dramas ever to come out of Hollywood. The titles in this collection, made on the cusp of the sound age, are three of Sternberg’s greatest works.
In Sam Fuller’s hardboiled classic, a petty crook and an unsuspecting woman find themselves on the run from Communists in a precarious gambit.
Two unemployed actors drown their frustrations in booze, pills, and lighter fluid. When an uncle offers his cottage, they escape the squalor of their flat for a week in the country. Bruce Robinson’s semi-autobiographical cult favorite is intelligent, superbly acted, and hilarious.
Named one of the ten best British films of the century by the British Film Institute, Ken Loach’s Kes, concerns Billy, a fifteen-year-old miner’s son whose close bond with a wild kestrel provides him with a spiritual escape from his dead-end life.
Utilizing a new cameraman—the incomparable Sven Nykvist—Bergman unleashed Through a Glass Darkly, Winter Light, and The Silence in rapid succession, exposing moviegoers worldwide to a new level of intellectual and emotional intensity.
Before Psycho, Peeping Tom, and Repulsion, there was Diabolique, a heart-grabbing benchmark in horror filmmaking, featuring outstanding performances by Simone Signoret, Véra Clouzot, and Paul Meurisse.
Internationally revered Iranian filmmaker Abbas Kiarostami has created some of the most inventive and transcendent cinema of the past thirty years, and the fiction-documentary hybrid Close-up is his most radical, brilliant work.
Daring in its refusal to make the socialist leader into an easy martyr or hero, Che paints a vivid, naturalistic portrait of the man himself (Benicio del Toro), from his overthrow of the Batista dictatorship to his 1964 United Nations trip to the end of his short life.