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Dual-format editions include both Blu-ray and DVD versions of a film in a single package. All supplements are available across both formats.
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The visionary chroniclers of eccentric Americana Joel and Ethan Coen present one of their greatest creations in Llewyn Davis, a singer barely eking out a living on the peripheries of the flourishing Greenwich Village folk scene of the early sixties.
An ever-shifting battle of the sexes set on a Buenos Aires casino’s glittering floor and in its shadowy back rooms, Gilda is among the most sensual of all Hollywood noirs.
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.
This early smash for producer extraordinaire Dino De Laurentiis and director Giuseppe De Santis is neorealism with a heaping dose of pulp.
A young woman (Meiko Kaji), trained from childhood as an assassin and hell-bent on revenge for the murders of her father and brother and the rape of her mother, hacks and slashes her way to gory satisfaction.
Pépé le moko is a wanted man: women long for him, rivals hope to destroy him, and the law is breathing down his neck at every turn. On the lam, Pépé is safe from the clutches of the police, until a Parisian playgirl compels him to risk his life. Pépé le moko is a landmark of poetic realism.
Bob Dylan is captured on-screen as he never would be again in this groundbreaking film from D. A. Pennebaker.
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.
Julien Duvivier made the transition from silents to talkies with ease, marrying his expressive camera work to a strikingly inventive use of sound with a singular dexterity.
Italian cinema dream team Sophia Loren and Marcello Mastroianni are cast against glamorous type and deliver two of the finest performances of their careers in this moving, quietly subversive drama from Ettore Scola.
David Lynch’s seductive and scary vision of Los Angeles’s dream factory is one of the true masterpieces of the new millennium, a tale of love, jealousy, and revenge like no other.
After more than a decade of sober political dramas and socially minded period pieces, the great Japanese director Masaki Kobayashi shifted gears dramatically for this rapturously stylized quartet of ghost stories.
One of the first cinematic reflections on the horrors of the Holocaust, Alain Resnais’ documentary Night and Fog (Nuit et Brouillard) contrasts the stillness of the abandoned camps’ quiet, empty buildings with haunting wartime footage.
This captivating, long-overlooked adventure—with a clever screenplay by Frank Launder and Sidney Gilliat, best known for writing Alfred Hitchcock’s The Lady Vanishes—is a deftly concocted spy game that could give the master of suspense a run for his money.
Two-bit hustler Harry Fabian (Richard Widmark) longs for “a life of ease and plenty.” Trailed by an inglorious history of go-nowhere schemes, he tries to hatch a lucrative plan with a famous wrestler.
The legendary French filmmaker Agnès Varda, whose remarkable career began in the 1950s and has continued into the twenty-first century, produced some of her most provocative works in the United States.
An astounding array of talent came together for the big-screen adaptation of John Fowles’s novel The French Lieutenant’s Woman, a postmodern masterpiece that had been considered unfilmable.
Oscar winner Marion Cotillard received another nomination for her searing, deeply felt performance as a working-class woman desperate to hold on to her factory job, in this gripping film from master Belgian directors Jean-Pierre and Luc Dardenne.
This affectionate farce from François Truffaut about the joys and strife of moviemaking is one of his most beloved films.
Brian De Palma ascended to the highest ranks of American suspense filmmaking with this virtuoso, explicit erotic thriller.
Ernest Hemingway’s simple but gripping short tale “The Killers” is a model of economical storytelling. Two directors adapted it into unforgettably virile features.
Following Jack Nicholson’s breakout supporting turn in Easy Rider, director Bob Rafelson devised a powerful leading role for the new star in the searing character study Fve Easy Pieces.
Costa-Gavras puts the United States’ involvement in Latin American politics under the microscope in this arresting thriller.
The master of the political thriller, Costa-Gavras became an instant phenomenon after the mammoth success of Z, and he quickly followed it with the equally riveting The Confession.
In this anguished yet mordantly funny film, Fassbinder charts the decline of a self-destructive former policeman and war veteran struggling to make ends meet for his family by working as a fruit vendor.
Make Way for Tomorrow, by Leo McCarey, is one of the great unsung Hollywood masterpieces, an enormously moving Depression-era depiction of the frustrations of family, aging, and the generation gap.
In one of the best performances of his legendary career, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in an adaptation by Peter Yates of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle.
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.
Taking place largely over the course of one tense night, Carol Reed’s psychological noir, set in an unnamed Belfast, stars James Mason as a revolutionary ex-con leading a robbery that goes horribly wrong.
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.
A work of meticulous journalism and gripping drama, it recounts the disturbing tale of Randall Dale Adams, a drifter who was charged with the murder of a Dallas police officer and sent to death row, despite evidence that he did not commit the crime.
With his trademark mixture of empathy and scrutiny, Errol Morris has changed the face of documentary filmmaking in the United States, and his career began with two remarkable tales of American eccentricity.
Truffaut made The Soft Skin at a time when he was immersing himself in the work of Alfred Hitchcock, and that master’s influence can be felt throughout this complex, insightful, and underseen French New Wave treasure.
This bittersweet film from Jean Renoir, based on a story by Guy de Maupassant, is a tenderly comic idyll about a city family’s picnic in the French countryside and the romancing of the mother and grown daughter by two local men.
A work of memory and imagination, the film burrows into what the filmmaker calls “the heart of the heart” of the continent, conjuring a city as delightful as it is fearsome, populated by sleepwalkers and hockey aficionados.
One of the first and best-loved films of this period in his career is The Bitter Tears of Petra von Kant, which balances a realistic depiction of tormented romance with staging that remains true to the director’s roots in experimental theater.
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.
This collection of Kinoshita’s first films—four made while the war was going on and one shortly after Japan’s surrender—demonstrates the way the filmmaker’s humanity and exquisite cinematic technique shone through even in the darkest of times.
A startling and courageous film, Peter Davis’s landmark 1974 documentary Hearts and Minds unflinchingly confronted the United States’ involvement in Vietnam at the height of the controversy that surrounded it.
People on Sunday, an effervescent, sunlit silent, about a handful of city dwellers (a charming cast of nonprofessionals) enjoying a weekend outing, offers a rare glimpse of Weimar-era Berlin, would influence generations of film artists around the world.
In the late fifties and early sixties, Basil Dearden created a series of gripping, groundbreaking, even controversial films that dealt with racism, homophobia, and the lingering effects of World War II, noir-tinged dramas that burrowed into corners of London rarely seen on-screen.
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.
Seemingly off-the-cuff yet poetically constructed, these films are humane, sometimes wry, always engaging tributes to music, food, and all sorts of regionally specific delights.
The wildly prolific German filmmaker Rainer Werner Fassbinder paid homage to his cinematic hero Douglas Sirk with this update of that filmmaker’s 1955 All That Heaven Allows.
A psychologically damaged war veteran and a neglected child begin a startlingly intimate friendship—one that ultimately ignites the suspicion and anger of his friends and neighbors in suburban Paris.
This genuinely frightening, exquisitely made supernatural gothic stars Deborah Kerr as an emotionally fragile governess who comes to suspect that there is something very, very wrong with her precocious new charges.
This smash road comedy from Oscar-winning director Alfonso Cuarón is a funny and moving look at human desire.
The success of Erik Skjoldbjærg’s chilling procedural anticipated the international hunger for Scandinavian noirs and serial- killer fictions, and the film features one of Skarsgård’s greatest performances.
A Hard Day’s Night, in which the bandmates play cheeky comic versions of themselves, captured the astonishing moment when they officially became the singular, irreverent idols of their generation and changed music forever.
Novice nun Viridiana does her utmost to maintain her Catholic principles, but her lecherous uncle and a motley assemblage of paupers force her to confront the limits of her idealism. Luis Buñuel’s irreverent vision of life as a beggar’s banquet is regarded by many as his masterpiece.
Catherine Deneuve’s porcelain perfection hides a cracked interior in one of the actress’s most iconic roles: Séverine, a Paris housewife who begins secretly spending her afternoon hours working in a bordello.
One of the all-time comedy classics, René Clair’s À nous la liberté tells the story of Louis, an escaped convict who becomes a wealthy industrialist. Unfortunately, his past returns (in the form of old jail pal Emile) to upset his carefully laid plans.
With its lack of polish, surplus of attitude, anything-goes crime narrative, and effervescent young stars Jean-Paul Belmondo and Jean Seberg, Breathless helped launch the French New Wave and ensured that cinema would never be the same.
Internationally famous oceanographer Steve Zissou (Bill Murray) and his crew, Team Zissou, set sail on an expedition to hunt down the mysterious, elusive, possibly nonexistent Jaguar Shark that killed Zissou’s partner during the documentary filming of their latest adventure.
No matter what genre he worked in, Howard Hawks played by his own rules, and never was this more evident than in his first western, the rowdy and whip-smart Red River.
Kiarostami has constructed an enigmatic but crystalline investigation of affection and desire as complex as his masterful Close-up and Certified Copy in its engagement with the workings of the mercurial human heart.
In Pietro Germi’s hilarious and cutting satire of Sicilian male-chauvinist culture, Baron Ferdinando Cefalù (Marcello Mastroianni) longs to marry his nubile young cousin Angela (Stefania Sandrelli), but one obstacle stands in his way: his fatuous and fawning wife, Rosalia (Daniela Rocca).
Terry Zwigoff’s landmark 1995 film is an intimate documentary portrait of the underground artist Robert Crumb, whose unique drawing style and sexually and racially provocative subject matter have made him a household name in popular American art.
The ultimate Italian road comedy, Il sorpasso stars the unlikely pair of Vittorio Gassman and Jean-Louis Trintignant as, respectively, a waggish, freewheeling bachelor and the straitlaced law student he takes on a madcap trip from Rome to Tuscany.
Before he turned to the story of Joan of Arc, the Danish cinema genius Carl Theodor Dreyer fashioned this ahead-of-its-time examination of domestic life.