The Criterion Collection
Essays
Jan 18, 2022 — Garrett Bradley warped the clock. In her masterwork Time (2020), the present is the past is the future—which is to say, the lie of linearity gets emptied. Virginia Woolf comes up, when I think of artists who have comparably seized...
Jan 11, 2022 — A searing melodrama that lays bare the trauma wrought by white supremacy and privilege, Thomas Vinterberg’s second feature kick-started the Dogme 95 movement.
Dec 14, 2021 — In 1968, soon after he graduated from the Film and Television Institute of India, Mani Kaul made an arresting short titled Forms and Designs. It observes artisans at work across the country, some swimming alone against the tide of mass...
On the Channel
Dec 1, 2021 — Celebrate the holidays with our 21-film Alfred Hitchcock retrospective and a series dedicated to collaborations between female directors and cinematographers.
Nov 17, 2021 — Decades after Peter Lorre’s knife-toting creep Hans Beckert prowled the Berlin streets in search of little girls in Fritz Lang’s M (1931); after Robert Mitchum’s silver-tongued Harry Powell cut down all the “smooth and curly-haired things” he could get his...
Nov 16, 2021 — Starting with his first movie, in 1949, the Cantonese folk hero became a pop-culture phenomenon whose personality evolved to suit the times.
Nov 2, 2021 — Federico Fellini’s earliest masterpiece is a story of despair and optimism, cruelty and salvation, that occasioned the director’s ascent to stardom.
Essays
Oct 5, 2021 — Kaneto Shindo’s visceral erotic-horror film centers on a dangerous duo of women fighting to survive while men are away at war.
Features
Sep 22, 2021 — Writer-director John Huston blasted the fusty pieties that pervaded big-studio filmmaking in the post-Code era, whether as the progenitor of film noir with The Maltese Falcon (1941) or the brainy daredevil who threaded critiques of frontier capitalism, gold lust, and...
Sep 3, 2021 — In the thirty-fifth edition of the Italian festival dedicated to restored films, an eclectic lineup underscores the transportive physicality of cinema after a long year stuck at home.