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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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John Ford takes on the legend of the O.K. Corral shoot-out in this multilayered, exceptionally well-constructed western, one of the director’s very best films.
With a background in music hall and mime performance, Tati steadily built an ever-more-ambitious movie career that ultimately raised sight-gag comedy to the level of high art.
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.
After the shocking suicide of their friend, a group of thirtysomethings reunite for his funeral and end up spending the weekend together, reminiscing about their shared past as children of the sixties and confronting the uncertainty of their lives as adults of the eighties.
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.
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.
Errol Morris turns his camera on one of the most fascinating men in the world: the pioneering astrophysicist Stephen Hawking, afflicted by a debilitating motor neuron disease that has left him without a voice or the use of his limbs.
This evocative period piece, faithfully adapted from the A. E. Hotchner memoir, is among the versatile Soderbergh’s most touching and surprising films.
It’s a Mad, Mad, Mad, Mad World, about a group of strangers fighting tooth and nail over buried treasure, is the most grandly harebrained movie ever made, a pileup of slapstick and borscht-belt-y one-liners performed by a nonpareil cast.
The contemporary American auteur Michael Mann’s bold artistic sensibility was already fully formed when he burst out of the gate with Thief, his debut feature.
The mission of the WCP is to preserve and present marginalized and infrequently screened films from regions generally ill equipped to preserve their own cinema history.
The colossally popular Zatoichi films make up the longest-running action series in Japanese history and created one of the screen’s great heroes: an itinerant blind masseur who also happens to be a lightning-fast swordsman.
A pair of siblings from London (Ray Milland and Ruth Hussey) purchase a surprisingly affordable, lonely cliff-top house in Cornwall, only to discover that it actually carries a ghostly price—and soon they’re caught up in a bizarre romantic triangle from beyond the grave.
A breakout art-house smash in America, Edouard Molinaro’s La Cage aux Folles inspired a major Broadway musical and the blockbuster remake The Birdcage. But with its hilarious performances and ahead-of-its-time social message, there’s nothing like the audacious, dazzling original movie.
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.
Seconds, directed by John Frankenheimer, concerns a middle-aged banker who, dissatisfied with his suburban existence, elects to undergo a strange and elaborate procedure that will grant him a new life.
Over a decade in the making, Claude Lanzmann’s nine-hour-plus opus is a monumental investigation of the unthinkable: the murder of more than six million Jews by the Nazis.
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.
It’s 1968, and the whole world is watching. With the U.S. in social upheaval, famed cinematographer Haskell Wexler decided to make a film about what the hell was going on. Medium Cool, his debut feature, plunges us into the moment.
In this beautifully shot, psychologically complex western, Van Heflin is a mild-mannered cattle rancher who takes on the task of shepherding a captured outlaw (played with cucumber-cool charisma by Glenn Ford) to the train that will deliver him to prison.
A winner of Academy Awards for best foreign-language film and best costume design, Gate of Hell is a visually sumptuous, psychologically penetrating work from Teinosuke Kinugasa.
The Last Days of Disco, from director Whit Stillman, is a cleverly comic look at the early 1980s Manhattan party scene from the vantage point of the late nineties.
The acclaimed, best-selling novel by John le Carré, about a Cold War spy on one final dangerous mission in East Germany, is transmuted by director Martin Ritt into a film every bit as precise and ruthless as the book.
The debut feature by the great Andrei Tarkovsky, Ivan’s Childhood is a poetic journey through the shards and shadows of one boy’s war-ravaged youth.
Kirk Douglas gives the fiercest performance of his career as Chuck Tatum, an amoral newspaper reporter who washes up in dead-end Albuquerque, happens upon the scoop of a lifetime, and will do anything to keep getting the lurid headlines.
One of the most influential, radical science-fiction films ever made and a mind-bending free-form travelogue, La Jetée and Sans Soleil couldn’t seem more different—yet they’re the twin pillars of an unparalleled and uncompromising career in cinema.
Under Kenji Mizoguchi’s dazzling direction, this classic Japanese story became one of cinema’s greatest masterpieces, a monumental, empathetic expression of human resilience in the face of evil.
Seamlessly interweaving archival war footage with a fictional narrative, this immersive account of one twenty-year-old’s journey from basic training to the front lines of D-Day brings to life all the terrors and isolation of war with jolting authenticity.
Hailed as one of the finest films ever made, Jules and Jim charts, over twenty-five years, the relationship between two friends and the object of their mutual obsession.
Trickery. Deceit. Magic. In F for Fake, a free-form sort-of documentary by Orson Welles, the legendary filmmaker (and self-described charlatan) gleefully reengages with the central preoccupation of his career: the tenuous lines between illusion and truth, art and lies.
One of the great American independent films of the 1990s, the surprise hit Metropolitan, by writer-director Whit Stillman, is a sparkling comedic chronicle of a young man’s romantic misadventures while trying to fit in to New York City’s debutante society.
At his secluded chateau in the French countryside, a brilliant, obsessive doctor (Pierre Brasseur) attempts a radical plastic surgery to restore the beauty of his daughter’s disfigured countenance—at a horrifying price.
John Cassavetes was a genius, a visionary, and the progenitor of American independent film, but that doesn’t begin to get at the generosity of his art.
A vivid, visceral Macbeth adaptation, Throne of Blood, directed by Akira Kurosawa, sets Shakespeare’s definitive tale of ambition and duplicity in a ghostly, fog-enshrouded landscape in feudal Japan.
Considered by many to be the finest British film ever made, The Life and Death of Colonel Blimp, by Michael Powell and Emeric Pressburger, is a stirring masterpiece like no other.
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.
A young man embarks on an obsessive search for the girlfriend who mysteriously disappeared while the couple were taking a sunny vacation trip, and his three-year investigation draws the attention of her abductor, a mild-mannered professor with a clinically diabolical mind.
One of the great cult classics, The Blob melds ’50s schlock sci-fi and teen delinquency pics even as it transcends these genres with strong performances and ingenious special effects. The Blob helped launch the careers of superstud Steve McQueen and composer Burt Bacharach.
In this unsettling drama from Italian filmmaker Liliana Cavani, a concentration camp survivor (Charlotte Rampling) discovers her former torturer and lover (Dirk Bogarde) working as a porter at a hotel in postwar Vienna.
Four desperate men sign on for a suicide mission to drive trucks loaded with nitroglycerin over a treacherous mountain route—a white-knuckle ride from France’s legendary master of suspense, Henri-Georges Clouzot.
This sensual and striking chronicle of a disappearance and its aftermath put director Peter Weir on the map and helped usher in a new era of Australian cinema.
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.
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.
This comic masterpiece by Preston Sturges is among the finest Hollywood satires and a high-water mark in the career of one of the industry’s most revered funnymen.
MainelyKirby: “Ozu crime intrigues me”
Actor and playwright Wallace Shawn sits down with his friend the theater director André Gregory at a restaurant on New York’s Upper West Side, and the pair proceed through an alternately whimsical and despairing confessional about love, death, money, and all the superstition in between.
Bette Midler exploded onto the screen with her take-no-prisoners performance in this quintessential film about fame and addiction from director Mark Rydell.
MainelyKirby: “This one has always interested me as depression-era cinema.”
MainelyKirby: “Another Melville, interested to see”
With its relentless pace, expressive cinematography by the great Russell Metty, and punchy, clever script by Charles Lederer and Ben Hecht, this is an overlooked treasure from the heyday of 1940s film noir.
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 is a faithful big-screen adaptation of Richard Adams’s classic British dystopian novel about a community of rabbits under terrible threat from modern forces.
Federico Fellini’s career achieved new levels of eccentricity and brilliance with this remarkable, controversial, extremely loose adaptation of Petronius’s classical Roman satire, written during the reign of Nero.
The last film by Yasujiro Ozu was also his final masterpiece, a gently heartbreaking story about a man’s dignifed resignation to life’s shifting currents and society’s modernization.
A masterpiece from Nicolas Roeg, Don’t Look Now, adapted from a story by Daphne du Maurier, is a brilliantly disturbing tale of the supernatural.
Tatsuya Nakadai and Toshiro Mifune star in the story of a wandering samurai who exists in a maelstrom of violence. A gifted swordsman plying his craft during the turbulent final days of shogunate rule in Japan, Ryunosuke (Nakadai) kills without remorse or mercy.
These elegant, bawdy films, made before strict enforcement of the Hays morality code, feature some of the greatest stars of early Hollywood, as well as that elusive style of comedy that would thereafter be known as “the Lubitsch touch.”
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.
The singular French director Maurice Pialat puts his distinctive stamp on the lost-youth film with this devastating portrait of a damaged foster child.