The Criterion Collection
Mar 29, 2013 — When the world’s favorite comedian asked his audience to see him as a sociopathic serial killer, he was venturing where cinema had barely dared to tread.
Feb 27, 2013 — More than eighty films into his career, Kenji Mizoguchi made this emotionally devastating masterpiece, from a story by Ogai Mori.
Essays
Jun 27, 2012 — The warrior and philosopher protagonist of The Samurai Trilogy, Musashi Miyamoto, was a real-life seventeenth-century figure. Here, the translator of Musashi’s The Book of Five Rings tells us about this fascinating man and his principles of swordplay and spirituality.
Essays
Oct 4, 2011 — No film better illustrates Pier Paolo Pasolini’s challenge to conventional representations, to the social and cultural consensus, than his 1976 masterwork.
Sep 21, 2010 — Warrendale: Man of ActionAllan King was one of cinema’s most acute chroniclers of unadorned reality, but the term documentary seems too puny to describe the intense, passionate stories he contrived to fashion from that reality. King’s early nonfiction features are...
Production Notes
Aug 5, 2010 — I work in the editorial department here at Criterion, and I’ve recently taken it on myself to do a little poking around at the office, to find out what my colleagues have going on and share that with visitors to...
Essays
Jun 11, 2007 — Claude Berri’s witty comedy-drama depicts Nazi sympathizers with three-dimensional candor, neither whitewashing nor apologizing for their misguided ideas.
Mar 27, 2006 — The Italian drama marked the first full blossoming of director Vittorio De Sica and screenwriter Cesare Zavattini’s ongoing collaboration.
Essays
Nov 8, 1999 — In The Third Man—probably the greatest British thriller of the postwar era—director Carol Reed and screenwriter Graham Greene set a fable of moral corruption in a world of near-Byzantine visual complexity: the streets and ruins of occupied Vienna. It is...
Oct 6, 2026 — A dystopian drama that draws on the influences of African mythology and hip-hop, Ngozi Onwurah’s debut feature uses a mix of speculative forms to expose anti-Blackness as a system that underpins the modern world.