Hi!

A voracious cinephile, the British director shared his thoughts on some of his favorite titles in the collection, noting his love for the camera movements in Grey Gardens and the terror he felt watching Things to Come as a child.

Apr 21, 2017 — George Stevens’s Oscar-winning comedy captures the first sparks of attraction that ignited one of the great on- and offscreen romances in Hollywood history.

The director of Fast Times at Ridgemont High talks about one of her favorite actors, Peter Lorre; Federico Fellini’s “ultimate explanation of creativity”; and her choice for the most heartbreaking film of all time.

Aug 7, 2016 — Following an arduous restoration effort that involved broken scanners, missing reels, and the complicated transfer of materials between Taipei, Bologna, and New York, Edward Yang’s 1991 epic film is finally available in a high-quality viewing format.

Aug 4, 2016 — The Vancity Theatre is screening Rainer Werner Fassbinder’s penultimate feature, the second installment of his BRD trilogy, a series of films centered on women in postwar Germany.

The star of Whit Stillman’s trilogy explores his favorite films from the collection, ranging from Bob Fosse’s All That Jazz to Richard Linklater’s Dazed and Confused.

During the Norwegian filmmaker’s visit to the Criterion closet, he excitedly expounded upon his wide-ranging selections, from Paul Schrader’s Mishima: A Life in Four Chapters to the Six Moral Tales of Eric Rohmer.

Mar 15, 2016 — Set during the height of McCarthy-era paranoia and arriving in 1962, in the middle of the Cuban Missile Crisis, John Frankenheimer’s high-anxiety Communist conspiracy thriller tapped into the darkest fears of Cold War America.

The Oscar-winning director of Amy talks about how Do the Right Thing became a major influence on his work, the overwhelming tension of an infamous scene in Code Unknown, and his love of Ken Loach’s early work.

Jan 28, 2016 — The film is is a high-water mark in the careers of its director, actors, and cowriter. But for design nerds, the contributions of Pablo Ferro, who designed the film’s iconic opening credit sequence, are just as notable.