The Criterion Collection
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May 18, 2020 — The beloved stalwart of the Seattle filmmaking community and accomplished director of high-profile television series was only fifty-four.
May 11, 2020 — One Scene Over the course of four features and several shorts, Brooklyn-based documentary filmmaker Matt Wolf has mined the histories hidden in archives, stitching together a rich and complicated view of twentieth-century America. He’s drawn to subjects that are misunderstood...
May 8, 2020 — The opening and closing credits in a film are a form of housekeeping, fulfilling a legal obligation to compile the names of cast and crew who made the final product possible. Visionary designer Saul Bass saw the aesthetic potential in...
The Daily
May 6, 2020 — What if the Hollywood of the 1940s were less racist and homophobic than the America of the 1940s?
The Daily
Apr 24, 2020 — Paul Schrader and Petra Costa are among the filmmakers determined to make the most of what they’ve got during lockdown.
Apr 22, 2020 — One of the true dark glories of the Czechoslovak New Wave, The Cremator (Spalovač mrtvol, 1969) is the most popular and indelible work by the underappreciated Juraj Herz and remained a firm favorite of the director’s among his many films....
The Daily
Apr 3, 2020 — Conversations with Frederick Wiseman and Quentin Tarantino and rediscoveries of forgotten critics and an Arab filmmaker are among this week’s highlights.
Mar 31, 2020 — The Prince of Tides (1991) is the high-water mark in a long and distinguished career in cinema. From the phenomenally successful 1968 musical Funny Girl through her meticulous 1983 rendering of Yentl, Barbra Streisand had earned her place among the most respected artists in...
Mar 24, 2020 — How do you talk about Leave Her to Heaven without talking about Gene Tierney’s face? You can’t. Because its planes and curves, its cunning expressions and its tantalizing opacity, are such a central piece of the movie itself. A series...