The Criterion Collection
Essays
May 6, 2014 — This humorous magazine piece from 1970 sheds some light on the meaning of the title of Il sorpasso, along with the way Vittorio Gassman comports himself behind the wheel in it.
Dec 11, 2009 — This expansive tribute to the iconic Japanese actor Tatsuya Nakadai was first published on the Criterion Collection’s website in fall 2005, around the time of the Criterion releases of two films starring Nakadai: Kurosawa’s Ran and the less well-known samurai...
Jun 23, 2026 — The only favor I ever asked of a twink was for tickets to see John Waters introduce two of his films. I was the sole trans filmmaker enrolled in my school’s program, and I felt it was my right to...
On the Channel
Apr 28, 2021 — Channel Calendars Next month, the Criterion Channel celebrates independent, pathbreaking, and underappreciated artists. We’ve got a retrospective devoted to Gena Rowlands (pictured), the indie-film legend whose acting blurred the line between life and performance; a centenary tribute to the great...
The Daily
Dec 18, 2017 — The new Winter 2017 issue of Cineaste is out and the highlight of what’s online would have to be the interviews, four complete “Web Exclusives.” Dennis West and Joan M. West talk with documentarian Pamela Yates about completing her Guatemalan...
Dec 11, 2012 — Cinema is both an educational tool and a vessel for kinetic, avant-garde expression for filmmaker and activist Godfrey Reggio.
On the Channel
May 14, 2025 — This month, dive into some of cinema’s most memorable swimming pools, dine across Europe with Steve Coogan and Rob Brydon, and watch out for that suave sociopath Tom Ripley.
The Daily
Dec 9, 2023 — This week we’re revisiting the work of Tolkin, Bogdanovich, and Borowczyk and reading profiles of Isabelle Huppert and Nicolas Cage.
The Daily
Dec 7, 2023 — Nearly half of the films premiering in January will come from first-time directors, but there’ll also be new work from Steven Soderbergh and Richard Linklater.
Nov 27, 2008 — An enormous welter of insoluble problems is on display in Luis Buñuel’s classic—the ending solves nothing; the story just begins again.