Be Here Now

May 24, 2017 — “Sofia Coppola delivers a very enjoyable southern melodrama, the tale of a handsome, badly wounded Union soldier in enemy terrain during the American civil war who throws himself on the mercy of a ladies’ seminary—of all the outrageous things.” The...

May 23, 2017 — “To premiere one film at Cannes is an honor,” writes Nicolas Rapold in the New York Times. “Being granted two slots in the lineup is a major distinction indeed. But for the prolific South Korean director Hong Sangsoo, the two...

May 19, 2017 — Let’s open today’s round of interviews with one from the archives, a conversation with Michelangelo Antonioni that originally ran in Corriere della Sera in 1982 but evidently took place during the final stages of shooting Blow-Up (1966). It’s been translated...

May 17, 2017 — “For its 70th anniversary,” begins Boyd van Hoeij in the Hollywood Reporter, “the Cannes Film Festival has, very appropriately, chosen to open with a film by French auteur Arnaud Desplechin, a Cannes discovery whose feature debut, The Sentinel, played in...

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 27, 2017 — Blending irreverent comedy and surreal eroticism, Juzo Itami’s international hit is a utopian look at the peculiarities of gastronomic culture.

Apr 17, 2017 — A group of Cuba’s most seasoned musicians became an international sensation upon the release of this acclaimed documentary portrait.

Apr 10, 2017 — An exhibition at New York’s Museum of the Moving Image explores Martin Scorsese’s creative process, his deep personal connection to his films, and his lifelong cinephilia.

Mar 28, 2017 — In his first English-language feature, Michelangelo Antonioni examines the elusiveness of the real through the lens of a murder mystery.

Mar 14, 2017 — Religious fanaticism and anti-Communist hysteria give way to mass violence in this groundbreaking work of Mexican political cinema.