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She Is Love

Jun 29, 2010 Photography, the basis of cinema, is also the foundation of Jan Troell’s Everlasting Moments. The Swedish title of Troell’s feature, his fourteenth, translates as Maria Larsson’s Everlasting Moments, which alludes to the photographs taken by its lead character, images of...

May 20, 2009 Early in Shohei Imamura’s Intentions of Murder, the librarian Riichi distractedly peruses Herbert Marcuse’s Eros and Civilization while conversing with his clinging mistress, Yoshiko. One can read the reference in many ways: as a glancing jest, as an (uncharacteristic) Imamurian...

Jul 21, 2008 A dreamy alternative to the standard notion of horror, Carl Theodor Dreyer’s phantasmal film reimagined the figure of the vampire.

Apr 21, 2008 Juan Antonio Bardem combines neorealism with noir thriller to create a new dialect that would forge a new Spanish cinematic language.

Remembering Mr. Altman

Production Notes

Nov 23, 2006 I first met Robert Altman in person in 1999, when I was producing a series of video introductions featuring contemporary directors discussing their favorite Janus films. Altman was the first Criterion director to respond to our request. We had sent...

Nov 6, 2006 The circumstances of our first encounters with movies are often as memorable as the movies themselves. Sometimes the juxtaposition of movie and circumstance seems merely accidental; but there are those films that change us enough that we can identify the...

Aug 28, 2006 Pietro Germi’s brilliant satire skewers Italian society’s devotion to appearances and its cultlike obsession with gossip and honor.

Feb 13, 2006 Jean Renoir’s classic film shows the natural world and the power of technology as wedded through the closely coordinated labor—effected through glances and sign language—of two men.

Sep 26, 2005 “They were down for each other.” If one wanted to pitch the concept of Bad Timing in six words, this comment by its director, Nicolas Roeg, couldn’t be bettered.

Ugetsu

Essays

Dec 28, 1993 In his touchstone of postwar Japanese cinema, Kenji Mizoguchi uses woman’s fate to reveal the human cost of oppression.

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