The Criterion Collection
The actor and star of Christophe Honoré’s Marcello Mio talks about the power of political films disguised as comedies, such as To Be or Not to Be and Divorce Italian Style; shares her love for Japanese horror cinema; and reminisces...
The director and cowriter of Dune draws connections between the ways Krzysztof Kieślowski and Ingmar Bergman captured women on-screen, shares why Che is his favorite Steven Soderbergh film, and talks about how Lars von Trier broke the codes of cinema...
The actor and star of Nosferatu, Juror #2, and The Order shares why Shallow Grave is seared into his memory, talks about his love for Peter Sellers’s performance in Being There, and selects favorites by Bruce Lee, the Coen brothers,...
The writer and director of Nosferatu shares his fascination with Sergei Parajanov’s ornate tableaus, praises costume designer Piero Tosi’s work on Medea and Death in Venice, and talks about how Jack Clayton’s The Innocents ignites his imagination.
The actor joins the director of his new film The Piano Lesson in the Criterion Closet, where they shout out the importance of Menace II Society, reflect on the beauty of Jacques Demy and Agnès Varda’s artistic relationship, and praise...
The director of I’m Still Here shares why Andrei Rublev and Stranger Than Paradise consistently renew his faith in cinema, talks about the unique mix of documentary and fiction in Memories of Underdevelopment, and praises how Garrett Bradley’s Time shows...
The director of Maria talks about why Berlin Alexanderplatz is a masterclass on character and capturing a city, praises Maria Callas’s performance in Pier Paolo Pasolini’s Medea, and shares how Boyhood is proof that cinema can evoke the feeling of...
The celebrated actors and costars of The Return recommend favorites to each other, share their love for Andrei Tarkovsky and Orson Welles, and discover such Eclipse box sets as The First Films of Samuel Fuller and Basil Dearden’s London Underground.
The director and cowriter of Emilia Pérez shares his love for Fritz Lang’s rich visual language, compares Robert Altman’s narratives to “surrealist exquisite-corpse exercises,” and praises the Viennese sensibility of Max Ophuls’s La ronde.
The legendary filmmaker praises Jacques Tati’s dedication to getting his films made, reflects on the lessons he learned from Dorothy Arzner when she was his professor, and shares the joy he finds in inspiring new generations of directors.