The Criterion Collection
May 26, 2016 — During the conductor and composer’s visit—a day after he’d led the New York Philharmonic in a live orchestral performance of the score to City Lights—we talked about his love for early cinema, the delicate process of restoring Chaplin’s music, and...
May 25, 2016 — For the past ten years, we’ve been proudly welcoming the Bronx-based school’s students into our Criterion family. As the 2016 school year ends, we’re thrilled to watch another class of young filmmakers express their vision and employ what they’ve learned...
Essays
May 24, 2016 — In The Player, Robert Altman’s early nineties comeback film, the director brilliantly skewers Hollywood—getting all the details right, as only he could—while constructing his own kind of Hollywood Movie.
May 19, 2016 — In the late 1950s, when Shindo chose to create a nearly dialogue-free portrait of a family living on a remote island, he was taking a great chance, putting the fate of his struggling production company Kindai Eiga Kyokai on the...
May 11, 2016 — Aaron Katz was born and raised in Portland, Oregon. After studying filmmaking at University of North Carolina School of the Arts, he returned home to Portland to make his first feature, Dance Party USA (2006). Since then, he has written...
Apr 29, 2016 — In celebration of the upcoming centennial of Ingmar Bergman’s birth (the director was born in 1918), Sweden is planning a three-part television series and a documentary about him.
Apr 29, 2016 — This July brings two new Criterion releases in the United Kingdom: Stanley Kubrick’s satirical Cold War masterpiece Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb and Howard Brookner’s Burroughs: The Movie.
Apr 27, 2016 — Bret Easton Ellis may be best known for his novels and short stories—including Less Than Zero, The Rules of Attraction, and American Psycho, which was adapted as a film in 2000 and recently transformed into a musical that opened on...
Essays
Apr 27, 2016 — In Phoenix, Christian Petzold sets his nuanced melodrama of postwar German-Jewish identity within a starkly realist aesthetic, making newly fascinating use of his enduring interest in the tensions between the real and the artificial.
Apr 26, 2016 — Combining Turner Classic Movies’ programming experience with Criterion’s library of films and supplemental content made all the sense in the world.