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Jun 18, 2007 — Yasujiro Ozu had already directed forty-five features by the time he started work on Early Spring, in 1955, but the artistic and commercial success of his previous film, Tokyo Story (1953), had rejuvenated him.

Jun 11, 2007 — Claude Berri’s witty comedy-drama depicts Nazi sympathizers with three-dimensional candor, neither whitewashing nor apologizing for their misguided ideas.

May 2, 2007 — At Criterion, producers spend a lot of time talking about each DVD release—from cover art and liner notes to the special features we present. In the case of the latter, we have a pretty elaborate system in place. We start...

Apr 23, 2007 — Louis Malle’s documentary work adopts certain tenets of cinéma direct—improvisation, minimal crew, the refusal to organize reality—and applies them to a consistently class-conscious, outsider perspective.

Mar 26, 2007 — Across five films, the Swedish director defined his guiding themes and cinematic style.

Mar 19, 2007 — In 1945 Arthur Fellig, known as Weegee, a canny and gifted tabloid newspaper photographer, did something unprecedented: he assembled some of his best shots, of corpses and fires and arrests and crowds and spectacles, and made them into a book,...

Feb 19, 2007 — For a director whose vision is so frequently called pessimistic, Mikio Naruse’s drama exhibits a lightness of touch, deft and coolly understated, like its cocktail jazz score.

Feb 12, 2007 — Bicycle Thieves is truly one of my favorite films. I could watch it over and over again, and in truth, I have.

Feb 12, 2007 — Vittorio De Sica’s seminal drama renounces “egoism” for collective concern, envisioning a cinema of impassioned social conscience.

Jan 16, 2007 — The marvel of Mouchette inheres in the elegance, obstinacy, and capaciousness of Bresson’s double-mindedness.