The Criterion Collection
Short Takes
Feb 24, 2017 — Cinema lost one of its most venerated maestros of excess last week with the passing of director Seijun Suzuki, whose signature films from the 1960s exploded the conventions of the Japanese studio system. While honing his craft in dozens of...
Features
Aug 7, 2023 — In a tribute to Elvis Presley that aired on Turner Classic Movies, Kurt Russell says that “an Elvis movie is always worth watching because of Elvis.” This insight gets at a core truth about a much maligned and mostly dismissed...
The Daily
Jul 28, 2023 — This week: Stephanie Zacharek’s hundred favorites, Peter Wollen on the British New Wave, and a conversation with Hong Sangsoo.
Essays
Sep 18, 2006 — Nobuo Nakagawa’s legendary, genre-busting Japanese masterpiece explores the infernal desires that tempt us during our mortal existence—and the afterlife agonies awaiting those who succumb.
Features
Nov 20, 2018 — In the aftermath of the political turmoil that swept through France in 1968, Sylvina Boissonnas used her wealth to sponsor some of the most radical films of the era, including works by Philippe Garrel and Jackie Raynal.
The Daily
May 20, 2025 — Cannes 2025: Sirāt and Two Prosecutors emerge as critical favorites, while Nouvelle Vague finds both champions and detractors.
On the Channel
Sep 17, 2024 — With grisly special-effects showcases, some of cinema’s most memorable witches, Japanese horror classics, and spine-tingling Stephen King adaptations all on deck, there’s plenty to choose from for your spooky-season viewing.
On the Channel
Oct 30, 2020 — Channel Calendars With Thanksgiving around the corner, we’re grateful to the tireless preservationists who keep film history alive. Founded by Martin Scorsese in 1990, The Film Foundation has been an indispensable pillar of moving-image culture for the past three decades,...
Nov 5, 2018 — With the gradual rollout of his two-part semi-musical, Wang is seeing his strongest reviews yet.
The Daily
Nov 8, 2017 — Dave Kehr’s long reviews for the Chicago Reader, published between 1974 and 1986, comprise “a body of work that, together with Kehr’s columns for Chicago magazine in the 1980s, strikes me as being the most remarkable extended stretch of auteurist...