The Criterion Collection
The actor shares her longtime love for the films of Akira Kurosawa, talks about seeing Children of Paradise at an art-house cinema in the 1940s, and fondly recalls riding a scooter with Richard Roundtree.
The actor and director talks about being influenced by cinematographer Gordon Willis, shares his affection for Peter Sellers’s comedy style, and selects films he’s excited to see for the first time, like Amores perros and Shampoo.
The writer, director, and actor returns to the Criterion Closet, where he shares how he and cinematographer Maceo Bishop studied documentaries like The War Room when making their new film The Smashing Machine, shouts out the singular performances in Carnal...
The playwright and actor praises Do the Right Thing as the best film of the eighties, talks about the comfort of watching his favorite westerns, and selects Chicago cinema classics like Hoop Dreams and love jones.
The singer-songwriter shares why Thelma & Louise was a North Star when writing her first album, praises the way Days of Heaven immerses viewers in its beauty, and talks about her deep affection for Grey Gardens.
The writer and director talks about the influence of Samuel Fuller’s films on his own, shares what makes Fat Girl so viscerally devastating, and praises the legendary work of Youssef Chahine.
The actor reminisces about falling in love with Josef von Sternberg and Marlene Dietrich’s collaborations at a young age, praises Andrea Arnold’s distinct vision, and talks about how David Cronenberg’s films strike a unique balance between the extreme and the...
The actor praises the Dardenne brothers compassionate approach to filmmaking, talks about Michael Haneke’s use of long takes in Code Unknown, and gets excited to explore The Wes Anderson Archive.
The actor shares her memories of watching Fanfan la Tulipe as a child, talks about her deep connection to Hedwig and the Angry Inch, and expresses the importance of art and cinema in her life.
The writer, director, and actor reminisces about encountering The Before Trilogy for the first time, describes a technically innovative shot from Lone Star, and shares how the structure of Chantal Akerman’s early films inspired his own filmmaking.