The Criterion Collection
The Daily
Apr 24, 2019 — American cinema has lost one of its most visionary artists.
The Daily
Feb 4, 2019 — All four of this year’s top prizewinners have been directed or codirected by women.
Essays
Jan 15, 2019 — In Notorious (1946), love assumes different shapes and presentations—as a wound, a weapon, a promise, a curse. For Ingrid Bergman as the lusciously complex and raw-nerved Alicia Huberman, it’s all these things. As the film begins, Alicia is on the...
May 14, 2018 — In the singular world of Finnish filmmaker Aki Kaurismäki, auteurist homage and social consciousness are joined by some of the most lovingly filmed dogs in contemporary cinema.
Oct 5, 2017 — For kicks, I’m opening this one with something I wrote myself back in February, just hours after seeing the film at the Berlinale: “Aki Kaurismäki’s uneven but irresistibly amusing The Other Side of Hope, dedicated to the late film historian...
The Daily
Sep 29, 2017 — “A ravishing visual colossus, Blade Runner 2049 more than lives up to its predecessor’s legacy as a groundbreaking mixture of sound, images and mood,” begins Screen’s Tim Grierson. “This long-anticipated sequel’s screenplay sometimes struggles to keep pace, but director Denis...
Sep 21, 2016 — An exhilarating blend of noir and splatter-flick tropes, the Coen brothers’ debut feature established their unique brand of cosmic fatalism.
Aug 3, 2015 — On film noir’s unparalleled roster of resonant titles—Kiss of Death, Out of the Past, and Where Danger Lives, to name three—none is more emblematic or iconographically cogent than Night and the City. Juxtaposing two of noir’s essential, virtually ontological qualities,...
Sneak Peeks
Oct 8, 2014 — Eraserhead is a dark movie—literally. In this excerpt from a new interview on our special edition release of the film, director of photography Frederick Elmes discusses David Lynch’s approach to lighting his high-contrast black-and-white breakthrough, which you sometimes have to...
Dec 16, 2013 — A melodramatic investigation of family and class, Kim Ki-young’s film exorcises some demons of 1960s South Korean society.