A free way to build your virtual collection, make lists, and share them. It’s your new home on Criterion.com.
Learn More »
Travelogue, memoir, and outrageous cinematic spectacle converge in this kaleidoscopic valentine to the Eternal City, composed by one of its most iconic inhabitants.
The tender and provocative Heart of a Dog continues Laurie Anderson’s five-decade career of imbuing the everyday with a sense of dreamlike wonder.
An uncommonly naturalistic view of a seamy underworld, this gritty crime classic painstakingly depicts the calm professionalism and toughness of its gangster heroes while evincing a remarkable depth of compassion for their all-too-human fragility.
Unfolding in a series of eight mythic vignettes, this late work by Akira Kurosawa was inspired by the beloved director’s own nighttime visions, along with stories from Japanese folklore.
A furiously funny personal attack on capital punishment, The Executioner evaded the state censors who sought to suppress it, and today is regarded as one of the greatest Spanish films of all time.
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.
Jean Renoir’s ruthless love triangle tale, his second sound film, is a true precursor to his brilliantly bitter The Rules of the Game, displaying all of the filmmaker’s visual genius and fully imbued with his profound sense of humanity.
futurestar: “Most of this is a composite of the extras contained in the Rossellini trilogy on Bergman. Plus some bonus throw in. Not a must but a luxury at most. ”
Orson Welles’s first color film and final completed fictional feature, The Immortal Story is a moving and wistful adaptation of a tale by Isak Dinesen.
With its fascinating flawed characters, evocative cinematography by the great Vilmos Zsigmond, innovative overlapping dialogue, and haunting use of Leonard Cohen songs, McCabe & Mrs. Miller brilliantly deglamorized and revitalized the most American of genres.
Alain Resnais’s Muriel, or The Time of Return, the director’s follow-up to Last Year at Marienbad, is as radical a reflection on the nature of time and memory as its predecessor.
This singular vision of early seventeenth-century America from Terrence Malick is a work of astounding elemental beauty, a poetic meditation on nature, violence, love, and civilization.