Children of Men

May 21, 2007 — Carol Reed’s masterpiece dives deep into the life and mind of screenwriter Graham Greene, one of Britain’s greatest postwar novelist.

May 22, 2006 — Luis Buñuel’s merciless satire concerns the smallness of our vision of progress and our narrow attempts to achieve it through rational or moralistic planning.

Mar 13, 2004 — With uncharacteristic warmth and affection for human frailty, Ingmar Bergman raises the question of how love can possibly last forever.

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...

May 14, 2026 — Channel Calendars This month on the Criterion Channel, set out on an epic journey with our Odysseys collection, or revisit the foundational Bond classics that introduced the silver screen’s most iconic superspy. A spotlight on Courtney Love’s acting career reveals...

Apr 28, 2026 — In April 1992, John Singleton was en route to the set of his second film when he heard the verdict on the radio. A predominantly white jury had acquitted four police officers who, a year earlier, had been caught on...

Sep 25, 2024 — At a time when women were understood to be the primary audience for movies, Hollywood studios built vehicles for actresses that doubled as showcases for the industry’s many brilliant female screenwriters.

Aug 22, 2023 — In 1962, the young Bo Widerberg threw a grenade into the complacent waters of Swedish cinema. It came in the form of four articles in the evening newspaper Expressen—followed by a book version titled Vision in 
Swedish Film—in which Widerberg...

Aug 10, 2023 — “You’re the company I waited so long for,” Dr. Rosetta Stone (Tilda Swinton) says to her three Self Replicating Automatons in Teknolust (2002), artist Lynn Hershman Leeson’s sci-fi farce about a scientist’s well-meaning pursuit of artificial life. Stone’s color-coded clones...

Apr 19, 2022 — Vittorio De Sica’s neorealist fable deploys barbed humor and surreal flourishes to depict class solidarity and human kindness in postwar Italy.