A free way to build your virtual collection, make lists, and share them. It’s your new home on Criterion.com.
Learn More »
When a suburban teacher and father (James Mason) is prescribed cortisone for a painful, possibly fatal affliction, he grows dangerously addicted to the experimental drug. This Eisenhower-era throat-grabber, shot in expressive CinemaScope, is an excoriating take on the nuclear family.
These three independent films showed off Samuel Fuller’s genre diversity, gutter wit, and subversive force, and pointed the way to a controversial career in studio moviemaking.
In Shallow Grave, three self-involved Edinburgh roommates take in a brooding boarder, and when he dies of an overdose, leaving a suitcase full of money, the trio embark on a series of very bad decisions, with extraordinarily grim consequences for all.
An icon of the American avant-garde, Hollis Frampton made rigorous, audacious, brainy, and downright thrilling films, leaving behind a body of work that remains unparalleled.
Godzilla is the roaring granddaddy of all monster movies. It’s also a remarkably humane and melancholy drama made in Japan at a time when the country was still reeling from nuclear attack and H-bomb testing.
Sully: “I love Neil Jordan. I hope they can re acquire this and some of his other films like the Company of Wolves”
Sully: “I need this next to my copy of Sweet Movie”
Four years after Breathless, Jean-Luc Godard reimagined the gangster film even more radically with Band of Outsiders. In it, two restless young men (Sami Frey and Claude Brasseur) enlist the object of both of their fancies (Anna Karina) to help them commit a robbery—in her own home.
In Sam Fuller’s hardboiled classic, a petty crook and an unsuspecting woman find themselves on the run from Communists in a precarious gambit.
In a career-defining performance, Alain Delon plays a contract killer with samurai instincts. A razor-sharp cocktail of 1940s American gangster cinema and 1960s French pop culture, maverick director Jean-Pierre Melville’s masterpiece Le Samouraï defines cool.
A hallucinatory biopic that breaks all cinematic conventions, Alex Cox’s Walker tells the story of nineteenth-century American adventurer William Walker (Ed Harris), who became a soldier of fortune and dictator of Nicaragua.
Sully: “This is one of my all time favorite film titles.”
Mathieu Kassovitz took the film world by storm with La haine, a gritty, unsettling, and visually explosive look at the racial and cultural volatility in modern-day France, specifically the low-income banlieue districts on Paris’s outskirts.
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.
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.
In Pier Paolo Pasolini’s neorealist take on society’s marginalized and dispossessed, Anna Magnani delivers a powerhouse performance as a middle-aged prostitute who attempts to extricate herself from her sordid past for the sake of her son.
While laboring to sell a gold-embossed version of the Good Book, Paul Brennan and his colleagues target the beleaguered masses—then face the demands of quotas and the frustrations of life on the road. A landmark American documentary.
Robert Flaherty’s classic film tells the story of Inuit hunter Nanook and his family as they struggle to survive in the harsh conditions of Canada’s Hudson Bay region.
Barbara Kopple’s Academy Award–winning Harlan County USA unflinchingly documents a grueling coal miners’ strike in a small Kentucky town. With unprecedented access, Kopple and her crew captured the miners’ sometimes violent struggles with strikebreakers, local police, and company thugs.
A husband, a wife, a stranger, a knife: Roman Polanski sets them all adrift on a weekend filled with simmering resentments and gut-churning suspense in his seminal psychological thriller, still one of the greatest feature debuts in film history.
Roman Polanski followed up Knife in the Water with this controversial tale of psychosis. Catherine Deneuve is Carol, a fragile, frigid young beauty cracking up in her London flat when left alone by her vacationing sister. Repulsion is one of cinema’s most shocking psychological thrillers.
A stylish paean to female destructiveness, De Palma’s first foray into horror voyeurism is a stunning amalgam of split-screen effects, bloody birthday cakes, and a chilling score by frequent Hitchcock collaborator Bernard Herrmann.
In this pitch-black comedy from Preston Sturges, Rex Harrison stars as a world-famous symphony conductor consumed with the suspicion that his wife is having an affair. Unfaithfully Yours is a brilliantly performed mixture of razor-sharp dialogue and uproarious slapstick.
A milestone of the Czech New Wave, Milos Forman’s first color film, The Firemen’s Ball (Horí, má panenko), is both a dazzling comedy and a provocative political satire that chronicles a firemen’s ball where nothing goes right.
A tender and humorous look at a young woman’s journey from the first pangs of romance to its inevitable disappointments, Loves of a Blonde immediately became a classic of the Czech New Wave and earned Milos Forman the first of his Academy Award nominations.
Winner of the Academy Award for Best Foreign Language Film, Ingmar Bergman’s The Virgin Spring is a harrowing tale of faith, revenge, and savagery in medieval Sweden.
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 Federico Fellini’s quirky, imaginative fable, a motley crew of European aristocrats (and a lovesick rhinoceros!) board a luxurious ocean liner on the eve of World War I to scatter the ashes of a beloved diva.
A beautiful ingenue joins a tawdry music hall troupe and quickly becomes its feature attraction in Federico Fellini’s stunning debut film (directed in collaboration with neorealist filmmaker Alberto Lattuada).
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.
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.