The Criterion Collection
Jul 6, 2015 — The Killers (1946) is exemplary film noir from Robert Siodmak, who, on the strength of three films—this, Phantom Lady (1944), and Criss Cross (1949)—stands beside his fellow European exiles Fritz Lang and Otto Preminger as one of noir’s crucial directors....
Jun 24, 2014 — In 1964, Richard Lester harnessed the Beatles’ exploding superstardom for a giddy day-in-the-life pop masterpiece.
Mar 18, 2025 — This stellar entry in one of cinema’s greatest monster franchises combines science fiction’s age-old exploration of human arrogance with the full force of cinematic imagination.
The Daily
Oct 17, 2022 — Memoirs from Paul Newman and Pierre Clémenti, miscellany from Satyajit Ray and Alan Rickman, and a translation of Marguerite Duras are among this month’s highlights.
Sep 28, 2022 — Uday Shankar’s fantastical dance epic embodies a progressive, postcolonial Indian aesthetic that is decades ahead of its time.
The Daily
Feb 7, 2018 — “Paul Clipson, the San Francisco-based experimental filmmaker once described as a ‘poet of cinema,’ died unexpectedly Saturday at the age of fifty-three,” reports Kevin L. Jones for KQED. “Clipson made dozens of short films and collaborated frequently with experimental musicians...
The Daily
Oct 6, 2017 — Back when Projections was still called “Views from the Avant-Garde,” the New York Film Festival described its program as a “yearly touchstone for experimental film.” Now neither of those terms—“avant-garde” and “experimental”—are quite broad enough to encompass all that goes...
The Daily
Aug 8, 2017 — “The gaffers and grips, the electricians and sound men, all the technicians begin to mill about briskly on the thick-sodded grass adjacent to the ice-rimed children’s wading pool. Even the park’s casual strollers, walking their diarrheic poodles and mastiffs, begin...
Apr 29, 2015 — Peter Yates's crime drama is a haunting, singular experience, brutal and minutely observed, with a remarkably authentic sense of place.
Dec 16, 2013 — A melodramatic investigation of family and class, Kim Ki-young’s film exorcises some demons of 1960s South Korean society.