The Criterion Collection
May 16, 1988 — Prior to the success of Scaramouche in 1952, many in Hollywood felt that the big-budget “swashbuckler” film was no longer a safe investment. While such motion pictures as MGM’s version of The Three Musketeers (directed by George Sidney, 1948) and...
The host of Track Star and Public Opinion talks about why The Last Waltz is the greatest concert movie ever made, praises Aki Kaurismäki’s singular sense of humor and visual style, and selects some his favorite melodramas, including Written on...
Leonard Leff, emeritus professor of English at Oklahoma State University is the author of three books, including Hitchcock and Selznick (University of California Press, 1999). His essay on African Americans and Gone With the Wind appears in The Best American...
Molly Haskell is a critic and author whose books include From Reverence to Rape: The Treatment of Women in the Movies; Love and Other Infectious Diseases; Frankly, My Dear: “Gone with the Wind” Revisited; and Steven Spielberg: A Life in...
Sep 29, 2026 — In this tale of four privileged bachelors who embark on a trip to the Indian countryside, Satyajit Ray balances a biting critique of masculine fragility with splendid visual grace.
On the Channel
Aug 19, 2025 — This month’s programming celebrates the centenary of the great American filmmaker Robert Altman, the career of Oscar-winning actor Jodie Foster, and much more.
On the Channel
Jul 17, 2025 — Among this month’s highlights are a spotlight on ’90s soundtracks, a celebration of Hong Kong icon Sammo Hung, and a retrospective of the work of Spanish auteur Bigas Luna.
May 13, 2025 — In this masterpiece of lived-in ethical complexity and high spiritual stakes, Abbas Kiarostami explores the tensions between provinciality and modernity, and between artists and their subjects.
The Daily
Feb 21, 2025 — The pioneer of African cinema carried “the inventive temperament of a dreamer armed with a firm political orientation.”
Jun 25, 2024 — Barry Jenkins’s extraordinarily ambitious limited series distinguishes itself in the tradition of the cinematic slavery epic through its understanding that Black joy and Black trauma cannot be cleaved from each other.