The Ear

Feb 16, 2016 — In Death by Hanging, Nagisa Oshima spins a complex aesthetic web around his documentary-like structure, packing detail, history, politics, and emotion into his surrealist inquiry into capital punishment.

Jan 28, 2016 — Next Friday, Film Forum begins a weeklong run of our new 4K restoration of Antonio Pietrangeli’s 1965 masterpiece I Knew Her Well, presented by filmmaker Alexander Payne. This newly rediscovered gem, one of Pietrangeli’s most complex and enchanting works, was...

Dec 14, 2015 — In the early 1960s, Agnès Varda traveled to Cuba to make the documentary Salut les Cubains (1963). Varda’s twenty-eight-minute film, composed almost entirely of photographs that captured Cuba’s vibrant postrevolutionary culture, was inspired by two of Chris Marker’s films—Varda took...

Sep 14, 2015 — Our CEO commemorates Criterion’s cofounder, who was also a friend, partner, and father figure.

Aug 11, 2015 — The incredible Agnès Varda, now eighty-seven years old, stopped by the Criterion Collection office this past April to talk to us about the amazing, sometimes surreal experience of moving to California from France in the late 1960s and and again...

Jun 29, 2015 — The most famous scene in Five Easy Pieces—and perhaps one of the most fondly recalled moments of all of the New American Cinema of the early seventies—is the diner confrontation between Jack Nicholson’s volatile Bobby Dupea and a strict waitress....

Apr 23, 2015 — Repertory Picks Red, Krzysztof Kieślowski’s final film, and the conclusion of his Three Colors trilogy, was the capstone of a brilliant cinematic career. Though some of its power comes from its subtle connections to the earlier films in the series,...

Feb 17, 2015 — It was never, of course, Yasujiro Ozu’s intention that An Autumn Afternoon (1962) should be the final film of his thirty-­five­-year career as a writer­-director. Indeed, before he died on his sixtieth birthday, in December 1963, he had made notes...

Feb 11, 2015 — With its provocative ambiguities, tender compassion, and fragmented editing style, this supernatural classic is a pure dose of Nicolas Roeg.

Dec 10, 2014 — Social satire, women’s melodrama, queer metaphor, or horror movie? Todd Haynes’s elusive masterpiece is all of these and none of them.