The Criterion Collection
Delicately riding the line between pulp and art, these films refuse to be marginalized, lower budgets and lack of Hollywood gloss be damned.
Nov 12, 2007 — What is left of Berlin Alexanderplatz, this endless canon of the sublime and the trivial, is thus a perpetuum mobile of the human dance of love and death.
Oct 24, 2005 — Jean-Pierre Melville’s great film flirts with macho extremism and slips over into dream and poetry just as it has us most alarmed.
Aug 22, 2005 — This delicate, fascinating film is self-consciously, almost militantly, naive, and it remains something of an anomaly in Roberto Rossellini’s body of work.
May 9, 2005 — Les Blank’s documentary examines the interaction of premodern tribal existence with European modernity, epitomized by a movie narrative about the invidious clash of brute nature and a singular ego bent on his own mission of cultural enlightenment.
Apr 25, 2005 — Pietro Germi offers locomotive relief in this comedy about the horrors of inertia.
Mar 14, 2005 — A director is naturally a man like everyone else. Yet his life isn’t normal. For us, seeing is a necessity. For a painter, too, the problem is to see. But while the painter has to discover a static reality, or...
Essays
Aug 2, 2004 — Dismissed as minor Jean Renoir, the film deserves better, especially when seen in the larger context of numerous American and European films of the 1950s and their shared preoccupation with theater and performance.
Essays
Apr 29, 2002 — Though set in wartime Soviet Union, Grigori Chukhrai’s drama walks away from the genre of war film, creating a portrait of life and problems behind the lines of battle.
Essays
May 5, 1998 — John Woo’s last film made in Hong Kong before his emigration to the U.S. reflects the city's anxieties and state of crisis throughout the decade.