The Criterion Collection
The Daily
Jul 14, 2017 — Catherine Grant tips us off to Leo Robson’s interview with David Thomson for the January 2017 issue of the White Review. “Hawks is still for me the essential American director of the golden age,” says Thomson, and the conversation’s an...
Essays
Jan 23, 2017 — In his radical debut feature, Ousmane Sembène reveals the agony of the postcolonial experience through the story of a Senegalese migrant abused by her French employers.
Dec 26, 2016 — PerformancesTraveling through the subterranean portals of Videodrome like an introverted wraith, Deborah Harry carries herself with the wry, burned-out, but still titillated instincts of a voyager buying a one-way ticket for the outer limits. A vivid, smallish part can either...
Features
Jun 30, 2014 — The filmmaker’s recollections of the great producer.
Jan 31, 2005 — Like the movie’s rattletrap trucks lurching down the highway as they carry way-too-heavy loads, the characters in Jules Dassin’s brilliantly volatile Thieves’ Highway struggle under psychological and moral baggage until they can lay their burdens down. Working from a novel...
Essays
Feb 11, 2002 — The phenomenon of old age wherein childhood memories return with ever-increasing clarity while great stretches of the prime of life vanish into obscurity is the nub of Ingmar Bergman’s drama.
Essays
Dec 2, 1990 — In Martin Scorsese’s hands, the camera is not simply a recording device, but an x-ray machine—and it shows us close-ups of the human soul.
The Daily
Jan 3, 2023 — With lists, polls, and remembrances, we look back once again to the year that was.
Apr 23, 2024 — With its delirious images and audaciously poetic style, Soviet filmmaker Mikhail Kalatozov’s hymn to revolution moves beyond ordinary logic to capture the mysterious beauty of collective utopia.
Nov 18, 2018 — This sensuous, sprawling epic, which Ingmar Bergman intended to be his swan song, offers an effortless summing up of the themes—among them family, identity, and mortality—he'd spent a career exploring.