Up and Down

Aug 31, 2011 — City symphony or spa burlesque? Polemic or caprice? From the outset, even in his manifesto lecture “Towards a Social Cinema,” delivered to the Groupement des Spectateurs d’Avant-Garde at Paris’s Le Vieux-Colombier before what was only the second public screening of À propos...

Jun 24, 2009 — The following tribute to Sacha Vierny by Alain Resnais (pictured together above, Resnais left) was published in the October 2001 issue of Positif. It is based on an interview conducted by François Thomas and was translated for Criterion by Nicholas...

May 21, 2007 — Carol Reed’s masterpiece dives deep into the life and mind of screenwriter Graham Greene, one of Britain’s greatest postwar novelist.

Nov 13, 2000 — Featuring what may be the only 1950s monster that could not be destroyed, this cult classic warns parents to listen to their kids because the world they understood and controlled is over.

Oct 25, 2012 — The following piece by Sunday Bloody Sunday screenwriter Penelope Gilliatt originally appeared as the introduction to the 1971 U.S. publication of the script. A friend of mine who had started scrubbing at fourteen and went on to be a barmaid...

Dec 1, 2009 — The first words we hear are Sam Cutler’s: “Everybody seems to be ready—are we ready?” We were nowhere near ready for what was to come, there at the bitter end of the sixties. I remember that rainy day so well,...

Sep 5, 2024 — Homegrown cinema makes a strong showing this year with new films from Sofia Bohdanowicz, Kazik Radwanski, and David Cronenberg.

Apr 29, 2024 — From After Hours to Mikey and Nicky to Collateral, movies centered on the twists and turns of a single night give filmmakers the chance to boldly experiment with cinematic time and space.

Dec 6, 2019 — Serge Daney on Sergei Parajanov, James Quandt on Robert Bresson, and Cristina Álvarez López and Adrian Martin on Maurice Pialat are among this week’s highlights.

Aug 18, 2014 — The filmmaker and critic discuss the pleasures and provocations of the Spanish auteur’s work.