The Criterion Collection
Essays
Oct 12, 1998 — Are there cultural purists still remaining who would argue that the “Westernized” title of Akira Kurosawa’s 1963 masterpiece—High and Low—throws polluted water on the cosmological fire of its given name: Tengoku to jigoku—literally, Heaven and Hell?Kurosawa’s once insisted-upon reputation as...
Essays
Oct 18, 2022 — Kiyoshi Kurosawa’s hypnotic serial-killer film dives into the realm of the uncanny and envisions the breakdown of Japanese society.
Essays
Jul 19, 2022 — Centered on a grieving theater director and his driver, Ryusuke Hamaguchi’s Oscar-winning drama is a quiet meditation on the mysteries of communication, the flexibility of truth, and the search for honesty.
Essays
Aug 10, 2021 — Hirokazu Kore-eda’s international breakthrough is a bittersweet meditation on mortality, memory, and the movies.
Sep 24, 2020 — As video games have evolved into a technological and economic behemoth, they have attracted some consumer attention and spending away from movies. In part to appeal to filmgoers accustomed to the high production values of the big screen, large-budget games...
The Daily
Sep 10, 2017 — “Hirokazu Kore-eda is best known for intimate family dramas that overseas critics often compare to the work of Yasujiro Ozu (1903-63), the genre’s unquestioned master,” writes Mark Schilling, introducing his interview with the filmmaker for the Japan Times. “Kore-eda rejects...
Mar 29, 2017 — Film journalist Mark Harris stopped by Criterion to chat about the growing pains that five Hollywood filmmakers experienced during World War II.
Jan 6, 2015 — Kihachi Okamoto's The Sword of Doom is likely to strike the unalerted viewer as an exercise in absurdist violence, tracking the career of a nihilistic swordsman from his gratuitous murder of a defenseless old man to his final descent into...
May 19, 2014 — As in his other films, the world of Abbas Kiarostami’s latest is one of simulation, not-quite-realness, and unexpected tenderness.
Jul 8, 2013 — With its marvelous, distinctive camera work, Kenji Mizoguchi’s searing drama is as technically remarkable as it is humane.