The Criterion Collection
The legendary musician, filmmaker, and visual artist talks about The Color of Pomegranates and how it challenges the idea of what a film can be, shouts out Neil Young’s Dead Man score, and shares his affection for the sentimentality in...
The actor and filmmaker selects favorites like Touki Bouki, Memories of Underdevelopment, and Accattone; shouts out his recent collaborator Claire Denis; and discovers his own work on our shelves.
The filmmaker talks about the hypnotic quality of L’avventura, praises Alan J. Pakula’s Paranoia Trilogy, and shares how David Fincher’s The Game helped kickstart his career.
The legendary Iranian filmmaker explored the boundaries between reality and fiction, the complexities of childhood, and the beauty of his country’s landscapes.
The filmmaker returns to the Criterion Closet, where he praises seventies thrillers like The Parallax View and Straw Dogs, talks about You Can Count on Me and how “no one writes dialogue like Kenneth Lonergan,” and connects Targets to his...
The rapper, record producer, composer, and filmmaker talks about how the Once Upon a Time in China series elevated the martial genre, praises Mikey and Nicky as a master class in how to write a buddy movie, and shouts out...
The filmmaker cites All That Jazz as a major influence on modern editing, reveals the connection between Memories of Underdevelopment and Trainspotting, and shares his theory on why a director’s first film is always their best.
The actor, director, and producer talks about Krzysztof Kieślowski as an important filmmaker in his life, praises Carlos as “a beautiful example of long-format storytelling,” and encourages everyone to watch the work of Chris Marker.
The musician, producer, filmmaker, author, and actor reminisces about discovering Black Orpheus through Prince, shares his love for concert films like Monterey Pop and Gimme Shelter, and talks about how Spike Lee’s films have always been ahead of their time.
The writer and director of Girlfight selects films with complex themes of power and ambition; praises women whose work she felt gave her permission to become a filmmaker, such as Martha Coolidge and Joan Micklin Silver; and shares her love...