The Criterion Collection
Jun 21, 2004 — Indefatigably productive, ingenious, exasperating, narcissistically didactic, slyly self-promoting, abject, generous, exploitative, devoted to the wretched of the earth with honest fervor and deluded romanticism: Pier Paolo Pasolini can easily exhaust the adjective-prone, as man and artist, his person and his...
Feb 10, 2003 — The poet Paul Eluard says that to understand my film version of Beauty and the Beast, you must love your dog more than your car. Ordinarily, I would settle for that. However, with so much being written about the film...
Essays
Dec 31, 2000 — Those who felt that Scandinavian cinema had passed into retirement along with Ingmar Bergman should be startled by Insomnia. This immaculately constructed psychological thriller sets a benchmark for other Scandinavian directors to match, and is one of the most unusual...
Mar 31, 2026 — Claude Lelouch’s Palme d’Or–winning breakout hit combines elements of a classic Hollywood love story with dynamic photography, an edgy editing style, and a naturalistic sense of character and location.
Nov 1, 2022 — In one of the most incendiary and formally experimental films of the Czechoslovak New Wave, two mysterious young women uncover humanity’s endless potential for revolt.
Jul 6, 2021 — Howard Hawks’s madcap battle of the sexes is a reminder of how necessary and sneakily profound silliness can be.
Oct 22, 2018 — With her a capella take on the Rolling Stones’ “As Tears Go By,” the singer turns a brief moment in one of Godard’s most playful films into a reflection on loss.
Features
Jan 20, 2018 — On what would have been Saul Turell’s ninety-seventh birthday, Peter Cowie celebrates the man who was the beating heart behind Janus Films.
Dec 8, 2015 — In Speedy, Harold Lloyd, a comic genius who thought of himself as a quintessentially average American man, places his optimistic everyman character within the context of a society in shift, to great comedic effect.
Feb 3, 2015 — Jean-Luc Godard returned to the character-driven intensity of his earlier films with this satirical but serious-minded take on men, women, and money.