The Criterion Collection
Aug 14, 2019 — There is a scene in Henry King’s State Fair (1933) that ranks among the most poetic moments in all of 1930s American cinema. There is not much to it, just a family driving through the dusk in their rattling pickup...
The Daily
Aug 12, 2019 — This month we’re looking at titles by or about Chantal Akerman, Orson Welles, Chris Marker, Kathleen Collins, and many more filmmakers and writers.
The Daily
Aug 6, 2019 — The groundbreaking filmmaker had a hand in inventing—and then reinventing over and again—the modern documentary.
Features
Aug 6, 2019 — Once, in 1977, Werner Herzog read a news item about a volcano that was supposed to erupt in Guadeloupe and one man living there who refused to evacuate with the rest of the island’s population. Herzog being Herzog, he immediately...
Jul 30, 2019 — One Scene Though he works in the highly stylized realm of the horror genre, Ari Aster’s acute attention to the fraught dynamics of intimate relationships—evident in his psychologically penetrating new film Midsommar—makes it easy to see how he draws inspiration...
The Daily
Jul 25, 2019 — The festival will premiere new work from James Gray, Haifaa al-Mansour, Roy Andersson, Ciro Guerra, Costa-Gavras, Roman Polanski, and Olivier Assayas.
Features
Jul 25, 2019 — My first three films—Angela, Personal Velocity, and The Ballad of Jack and Rose—are all mysteries of female identity, how it can be warped, destroyed, or saved, particularly in the context of family and sexual love. These films are highly charged...
Jul 22, 2019 — The new book is the perfect supplement to a retrospective that begins touring the country on Friday.
Jul 18, 2019 — With its picturesque Provençal village, florid theatrical dialogue, and cast of familiar southern-French actors, dominated by the formidable Raimu, The Baker’s Wife is classic Marcel Pagnol territory. In 1938, when the film was released, the feted author and playwright was...
Essays
Jul 16, 2019 — When Alan J. Pakula began preparing for the production of Klute (1971), he screened a lot of Alfred Hitchcock films. He looked at Notorious and admired Ingrid Bergman’s work. He revisited Strangers on a Train, struggling with the climactic merry-go-round...