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The Road Back

Jun 21, 2017 The interview of the day, hands down, dates back half a century. Via Movie City News comes word that American Cinematographer has posted Herb A. Lightman’s interview with Alfred Hitchcock, which originally ran in its May 1967 issue. What makes...

May 27, 2017 Today’s journey back through Cannes history takes me to the festival’s fifty-ninth edition, when Ken Loach won the Palme d’Or for The Wind That Shakes the Barley—a film currently playing in a limited engagement on the Criterion Channel at FilmStruck....

May 25, 2017 This Saturday night, the Nickelodeon in Columbia, South Carolina, goes inside the world of Bob Dylan with D. A. Pennebaker’s 1967 Dont Look Back, as the film takes over the big screen after an introduction by local singer-songwriter Jade Blocker....

May 22, 2017 “Michael Haneke is back to many of his old tricks in Happy End, which enfolds the child psychopathy of Benny’s Video, the bourgeois nightmare of Hidden, the euthanasia theme of Amour, and the racial discomfort of Code Unknown into a...

Mar 21, 2017 A “celluloid atrocity” overflowing with deviant shenanigans, John Waters’s low-budget satire makes mincemeat of the peace-and-love era.

Feb 20, 2017 Joan Crawford delivers one of her greatest performances in Michael Curtiz’s unsparing look at class, ambition, and the all-consuming intensity of maternal love.

Feb 3, 2017 Over on the Criterion Channel, for Super Bowl weekend, we’re showing the first football movie ever made, Harold Lloyd’s crackerjack comedy The Freshman (1925), and the first rugby-football movie ever made, Lindsay Anderson’s heart-pounding drama This Sporting Life (1963). And...

Exile at Home

Features

Dec 18, 2016 Imogen Sara Smith examines the tensions between tradition and modernity reflected in two silent crime films by Yasujiro Ozu and Tomu Uchida.

Jul 12, 2016 Herk Harvey’s influential, low-budget horror classic Carnival of Souls is an eerie exploration of the mutability of place and the purgatorial state of dreaming.

Jun 14, 2016 Alexander Hall’s 1941 film showcased Robert Montgomery’s star power and, with its premise of a death revoked, provided much-needed comic relief to war-worried audiences.

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