The Criterion Collection
Sep 21, 2016 — An exhilarating blend of noir and splatter-flick tropes, the Coen brothers’ debut feature established their unique brand of cosmic fatalism.
Features
Sep 19, 2016 — If you consider noir as a global phenomenon, then films like Julien Duvivier’s Pépé le moko (1937), Jean Renoir’s La bête humaine (1938), and Carné’s Port of Shadows (1938) may be the first full harvest of this bitter crop.
Visual Analysis
Sep 19, 2016 — Featuring commentary by the Coens, Sonnenfeld, and actor Frances McDormand, this video, created by photographer Grant Delin, highlights the careful planning that went into the film’s construction.
Essays
Jun 30, 2016 — In Olivier Assayas’s 2014 film Clouds of Sils Maria, Juliette Binoche and Kristen Stewart play out a story centered on the complexities of female relationships, the making and undoing of boundaries between people, and our anxieties about the passage of...
Jun 14, 2016 — Alexander Hall’s 1941 film showcased Robert Montgomery’s star power and, with its premise of a death revoked, provided much-needed comic relief to war-worried audiences.
Apr 29, 2016 — The writer-director of such witty cultural sendups as Metropolitan, Barcelona, and The Last Days of Disco talks about that early-career trilogy; his new Jane Austen adaptation, Love and Friendship; and the filmmaker’s work of capturing the past.
Mar 23, 2016 — We had come to expect Chantal Akerman’s periodic gifts of small and large cinematic gems. Certain of this flow, we were devastated when, all too abruptly, we were forced to think of her latest film, so beautiful, as her last.
Jan 19, 2016 — Inside Llewyn Davis takes its protagonist on a Hero’s Journey of characteristically Coen-esque proportions—a voyage at turns serious and comic, and framed by an exquisitely curated selection of folk melodies.
Short Takes
Oct 19, 2015 — Take a look back at critics’ initial reactions to David Lynch’s haunting masterpiece Mulholland Dr.
Essays
Sep 22, 2015 — Two precocious youngsters try to carve out a corner of the world just for themselves in Wes Anderson’s alternately melancholy and boisterous tale of growing pains.