The Criterion Collection
Feb 25, 2013 — When an ethnographic filmmaker and a sociologist joined forces, they helped change the course of nonfiction cinema.
May 8, 2012 — To start on a personal note: I wrote a book about La haine that came out in November 2005, just as the Paris suburbs (banlieues) erupted in an unprecedented wave of violence. Every night, as in the Bob Marley song we...
Oct 25, 2011 — It’s not a movie about how things were; it’s a movie about how things are remembered.
Interviews
Sep 28, 2011 — As a film student at the University of Southern California, new to LA and without connections, Patricia Resnick had a habit of following film trucks, just to see where they’d lead. One took her to Westwood and the set of...
Aug 24, 2010 — Josef von Sternberg’s The Last Command (1928) was first and foremost a star vehicle for Emil Jannings, the internationally known, Swiss-born actor, who had left Germany in October 1926 to work for Paramount Pictures. During his two and a half...
Jul 19, 2010 — “Why do you want to dance?” “Why do you want to live?” A question followed by another question stands at the beating heart of The Red Shoes. It’s an entirely rhetorical exchange, but it underscores the power and the mystery...
May 20, 2009 — Iconoclasts are meant to kill their idols, and so it’s fitting that Shohei Imamura launched into his career as if on a patricidal rampage. Like Nagisa Oshima, the other towering figure of the Japanese New Wave, Imamura (1926–2006) rejected the...
Jun 9, 2003 — In Stan Brakhage’s films we enter into momentary perceptual transactions in which we trade unhindered assimilation of images for intensified contact with pictorial or sensory features that might otherwise go unnoticed.
Essays
Nov 23, 1998 — Paul Morrissey’s gory comedy may be sensationally shlocky, yet it explores profound ideas about sexual liberty, individualistic freedom, and the commodification of everyday life.