Eight

Aug 13, 2015 — The films Agnès Varda made while living on the West Coast of the United States are some of the most searching and challenging of her stellar career.

Aug 11, 2015 — The incredible Agnès Varda, now eighty-seven years old, stopped by the Criterion Collection office this past April to talk to us about the amazing, sometimes surreal experience of moving to California from France in the late 1960s and and again...

Jul 30, 2015 — It is now thirty years since the release of Stephen Frears’s film, which was both a product of and a response to the social and political landscape of 1980s Britain and depicted the lives of Pakistani immigrants with wit and...

Jul 13, 2015 — “I think that in a few years, in ten, in twenty, or thirty years, we shall know whether Hiroshima mon amour was the most important film since the war, the first modern film of sound cinema.” That was Eric Rohmer,...

Jul 8, 2015 — Steve Blauner, one of the founders of BBS, the production company that produced Five Easy Pieces, The Last Picture Show, The King of Marvin Gardens, and more, died last month at age eighty-one. We were lucky enough to sit down...

Jun 17, 2015 — From a shrewd adaptation by André Gregory and Wallace Shawn, Jonathan Demme fashions a visually inventive dreamscape out of an Ibsen classic.

Mar 25, 2015 — Long unheralded and at last rediscovered, actor-director Robert Montgomery’s Ride the Pink Horse is one of the key Hollywood features of 1947, the year film noir flooded the screen like a ruptured reservoir of India ink. Adapted from the popular...

Mar 16, 2015 — Director and star Robert Montgomery suffuses his moody 1947 New Mexico–set noir with palpable postwar anxiety and expressive fatalism.

Feb 15, 2015 — Among the most exciting supplements on our new release of Jean Renoir’s classic short A Day in the Country is an eighty-nine-minute compilation of outtakes from the film, titled Un tournage à la campagne, which features revelatory behind-the-scenes footage of...

Jan 26, 2015 — Scenes without endings, sounds without corresponding images, actions without seeming motivation—Lucrecia Martel’s sense-heightening debut offers a cinema of subtraction.