The Criterion Collection
The writer and director talks about how Girlfight reflects the vibrant spirit of director Karyn Kusama, praises Topsy-Turvy as his favorite Mike Leigh film, and takes home Hell’s Angels to watch with his wife, Hollywood historian Karina Longworth.
The actor and director praises Black God, White Devil as one of the most important Brazilian films ever made, talks about the complex humanity of Il Posto, and reflects on why Jean-Pierre and Luc Dardenne are his favorite filmmakers.
The actor praises the melancholy tenderness of A Canterbury Tale, shares his admiration for Derek Jarman’s creative genius, and selects favorites like Sweetie and L’humanité.
The musician and actor talks about what makes Stan Brakhage’s films “very punk rock,” reflects on working with Jonathan Demme, and selects favorite films such as Black Girl and True Stories.
The actor shares what he loves about Preston Sturges and Alfred Hitchcock, recommends Brief Encounter and other intimate works by David Lean, and selects films featuring favorite actors like Claude Rains and Carole Lombard.
The writer and director reflects on the influence that Melvin Van Peebles had on him when he was a film student, talks about how Ermanno Olmi and Ousmane Sembène made films that speak to humanity, and selects favorites such as...
The actor returns to the Criterion Closet, where he selects a few movies to watch with his kids, talks about his magical experience viewing Hobson’s Choice, and picks up a new edition of a film by his favorite director, Abbas...
The actor, producer, writer, and director shares why she thinks Naked is best watched alone, discusses her favorite cinematographer James Wong Howe’s work on Sweet Smell of Success, and suggests a Bob Fosse and Richard Pryor double feature.
The director of Caught by the Tides shares his affection for Alfonso Cuarón’s Roma, describes City Lights as being “full of cinematic feeling,” and selects favorites by Edward Yang, Robert Bresson, and Yasujiro Ozu.
The writer and director talks about Luis Buñuel’s surreal combination of the mundane and the absurd, shares what he learned from Martin Scorsese’s early shorts, and selects formative favorites like If. . . . and Fast Times at Ridgemont High.