Persona

Aug 24, 2010 — T he Docks of New York is one of those orphaned silents, released in 1928, the very end of the era. Apparently, it was previewed the same week as Al Jolson’s The Singing Fool, his first “all-talking” picture, the follow-up...

Aug 24, 2010 — I n a photograph of Josef von Sternberg from 1937, he looks like a character from one of his own films: a turbaned magus with elegantly trimmed beard and mustache, holding a cigarette as he gazes out obliquely, with the...

Aug 17, 2010 — In his defiantly maverick directing career, which yielded only ten features in thirty-five years, Maurice Pialat (1925–2003) was a stimulant and irritant, agitating the cozy pool of French cinema. His first effort, the lyrically bitter short essay film L’amour existe...

In a national cinema dominated by behemoth Hollywood studios, independently produced films have always made for refreshing alternatives.

Aug 9, 2010 — Now that Terry Zwigoff’s Crumb is fifteen years old, it seems pretty safe to say that it has evolved from a potential classic to actually being one. But what kind? A documentary portrait of a comic-book artist, musician, and nerdy...

Aug 5, 2010 — I work in the editorial department here at Criterion, and I’ve recently taken it on myself to do a little poking around at the office, to find out what my colleagues have going on and share that with visitors to...

Aug 3, 2010 — Sanshiro Sugata: A Career Blooms Moviegoers the world over know Akira Kurosawa for Rashomon (1950) and the international classics that followed—Ikiru, Seven Samurai, Throne of Blood, Yojimbo, High and Low. The filmmaker’s dazzling technique made his genre tales about samurai...

Jul 27, 2010 — Americans got The Secret of the Grain. In France, they got La graine et le mulet (The Grain and the Mullet)—basically, “Couscous and Fish.” Depending on whose table you eat dinner at, the French title can seem as elemental as...

Jul 19, 2010 — “Why do you want to dance?” “Why do you want to live?” A question followed by another question stands at the beating heart of The Red Shoes. It’s an entirely rhetorical exchange, but it underscores the power and the mystery...

Some of the world’s great directors did their finest work during a time of terrible conflict and loss.