The House

Dec 6, 2012 — Today, Brazil is a widely, feverishly loved film, but once upon a time it had its share of detractors—specifically, those who financed it and released it in the U.S. In the documentary The Battle of “Brazil,” critic Jack Mathews charts...

Aug 29, 2012 — With humor and melancholy, Franc Roddam’s coming-of-age drama, based on the Who’s iconic album, shows us a g-g-generation on the edge.

Mar 9, 2012 — The cinematographer tells us how he and Louis Malle went about shooting Vanya on 42nd Street in a decrepit Manhattan theater.

Feb 23, 2012 — Author John Voelker (a.k.a. Robert Traver) met musician Duke Ellington on the set of Anatomy of a Murder; he wrote this piece about the experience for the Detroit News Sunday Magazine in 1967.

Oct 4, 2011 — Vilified, censored, banned, denied commercial distribution, and long unavailable, Pier Paolo Pasolini’s infamous film lives more in reputation and rumor than in memory.

Jun 21, 2011 — Chains: Bound for Glory Film history is replete with artists embraced by critics but misunderstood by the public. For Italian filmmaker Raffaello Matarazzo, it was the opposite. After working for almost two decades as a midlevel studio director of pictures...

May 27, 2011 — We’re excited to show you the brand-new trailer for Janus Films’ upcoming release of World on a Wire, Rainer Werner Fassbinder’s 1973 made-for-TV science-fiction epic. It will tour theaters around the country starting this summer. Check Janus’s official page to...

Nov 30, 2010 — Some things those of us who work at the Criterion Collection are serious about: movies (maybe you knew that), getting the details right, and eating and drinking. So when the recipes for the absurdly delicious-looking food the Yokoyamas prepare in...

Nov 27, 2010 — The New Jersey resort town of Atlantic City provides the backdrop for two distinctive films made at opposite ends of the seventies: Bob Rafelson’s 1972 The King of Marvin Gardens and Louis Malle’s Atlantic City, released in 1981. That decade...

Aug 24, 2009 — Whit Stillman took a risk when he set his third film during (and titled it after) the disco era, whose erstwhile existence, from almost the moment it ended, has seemed to embarrass most Americans more than Watergate. One would think...