The Criterion Collection
Essays
Mar 30, 1992 — John Schlesinger’s controversial masterpiece made moviegoers squirm with its bold, bleak portrayal of unrequited love, gay and otherwise, and it remains as jolting and thought-provoking as ever.
Essays
Dec 8, 1991 — One of cinema’s most revered thrillers, La Saliare de la Peur or The Wages of Fear is the acknowledged masterpiece of the brilliant French director Henri-Georges Clouzot (1907-77). It is also the film that made popular music hall singer Yves...
Jun 3, 1991 — Jean Marais on the set of Beauty and the Beast An excerpt from Cocteau: A Biography (1970) by Francis Steegmuller Beauty and the Beast, the first film of Cocteau’s own since The Blood of a Poet, and his finest poem since...
Essays
Jan 7, 1991 — Vittorio de Sica remembers the inspirations behind and the making of his classic film.
Jan 24, 2012 — From the scary thuds and mysterious roars that accompany the no-frills titles to the bizarrely poignant final image of the monster, alone at the bottom of the ocean, Ishiro Honda’s Godzilla is all business and pure dream.
Feb 22, 2021 — Labor films are not where one typically goes when seeking love and grace. They are more often concerned with bodies subjected to torsion and the furrowed brow of someone who knows the cupboards are growing bare. Then there are the...
Short Takes
Sep 10, 2015 — Noah Baumbach asks one of his idols, Brian De Palma, about the stunningly elaborate museum sequence in Dressed to Kill.
Feb 6, 2017 — In the inaugural installment of his new column, archivist Michael Chaiken examines the Nobel Prize–winning icon’s unique artistic process through a collection of ephemera.
Nov 13, 2019 — Flowers and vegetables pulse, slither, and take dirigible flight; a horse becomes a pampered, petulant lover; a diminutive porcelain mouse transforms into a muscled superhero to save a beleaguered heroine: these are just some of the arresting images in the...
In Theaters
Feb 2, 2018 — Opening today at the Film Society of Lincoln Center, Iranian master Abbas Kiarostami’s final film, 24 Frames, is a subtle meditation on time and perception.