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A Part of Me

Mar 30, 2010 The work of Pedro Costa has progressed in slow, measured steps, but each step has been a giant leap. His slowness is both the condition and the consequence of ethical standards he shares with precious few directors of his generation....

Oct 6, 2008 Jean-Pierre Melville’s ninth and to that point most commercially successful feature in France, was an important watershed in the director’s career.

Oct 2, 2007 Longtime Criterionites remember the days when we were a part of the Voyager Company. Voyager had a long history of innovations, hooking up laserdisc players to early Macintosh computers to explore the world’s museums or inventing interactive software to explore...

Nov 28, 2006 Paris. We landed here yesterday at midday, and after a quick stop at our hotel, executive producer Fumiko Takagi and I headed straight to the offices of TF1 and Canal+ in Issy-les-Moulineaux for meetings. Issy is not what you think...

Jan 5, 2004 One of the most original—and hilarious—comedies ever made, M. Hulot’s Holiday has delighted and disarmed moviegoers the world over since its first appearance in 1953. There’s little in the way of plot or dialogue to this French-made farce about a...

Sep 23, 2002 In 1940 and 1941, David O. Selznick won back-to-back Academy Awards for Best Picture. In 1942, unsurprisingly, he was depressed. His wife, Irene, persuaded him to seek help, and, less than one year later, hale and hardy, he was eager...

Mar 24, 2026 In this true-crime epic, Martin Scorsese combines his career-long exploration of amoral gangsterism with a sobering meditation on what it means to live on American soil.

Mar 28, 2023 Described by director Joan Micklin Silver as “a kind of weird romantic comedy,” this defiantly ambiguous exploration of amour fou presents its obsessive antihero in all his contradictions.

Mar 13, 2018 Martin Scorsese brought his trademark attentiveness to the intricacies of social custom to this devastating adaptation of an Edith Wharton novel.

Oct 1, 2025 In his second stop-motion feature, Wes Anderson grapples with what it means to acknowledge one another within systems that separate beings between pet and master, wild and tamed.

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