Under Construction

Dec 7, 2017 — “After mining the American soul (Boogie Nights, There Will Be Blood, The Master) as brilliantly as any working director has in the last fifty years,” begins Robert Abele at TheWrap, “Paul Thomas Anderson moves to 1950’s England for Phantom Thread,...

Sep 29, 2017 — “A ravishing visual colossus, Blade Runner 2049 more than lives up to its predecessor’s legacy as a groundbreaking mixture of sound, images and mood,” begins Screen’s Tim Grierson. “This long-anticipated sequel’s screenplay sometimes struggles to keep pace, but director Denis...

Jul 12, 2017 — La telenovela errante, a film Raúl Ruiz shot in 1990 (image above) and now fully realized by his widow and editor, Valeria Sarmiento, is one of the highlights of the lineup for this year’s Locarno Film Festival. The seventieth edition...

Jun 23, 2017 — Reporting on last year’s edition of Il Cinema Ritrovato for Film Comment, Dan Sullivan called the festival “a rare beast indeed: a one-week, primarily repertory film festival, mind-bogglingly dense with new restorations, legendary prints, discoveries and rediscoveries, canonical works presented...

May 31, 2017 — Long difficult to see, this transgressive silent masterpiece draws on a wide range of aesthetic influences to push against the boundaries of film form.

May 17, 2017 — Welcome to the first entry of the Daily at the Criterion Collection. For those of you who don’t know me, since 2003 I’ve been gathering links to essential—or simply fun—reading, news stories, and items of interest into a sort of...

Apr 5, 2017 — An exhibition in New York showcases the great French filmmaker’s gallery art, ranging from photographic portraits to installations that blend still and moving images.

Dec 14, 2016 — Pseudodocumentary collides with pure fantasy in Federico Fellini’s intricately layered portrait of his adopted home.

Nov 2, 2016 — The morning after opening his first theater in Brooklyn, Alamo Drafthouse cofounder stopped by Criterion to chat about his life as a collector

Sep 13, 2016 — Kenji Mizoguchi achieved the sublime with this structurally complex portrait of artistic ambition and female subjugation.