After Love

Oct 31, 2007 — After the mugginess of the New York City summer, and with the launch of the new Criterion web store and the New York Film Festival keeping us all plenty busy through the end of September, Western Australia was a breath...

Oct 22, 2007 — Through the alcohol-induced convulsive movements of Firmin, a fallen diplomat, John Huston puts what is perhaps his own fear of decline, of departure without making peace with one’s loved ones, on the screen.

Oct 15, 2007 — One of Spain’s most acclaimed and prolific directors, Carlos Saura emerged as an artist in the late 1950s under Franco’s dictatorship and immediately made his mark as an incisive, if necessarily allusive, social and political commentator.

Sep 17, 2007 — G. W. Pabst’s adaptation of the play by Bertolt Brecht transforms the original without betraying it, softening its cynicism with humanity and integrating elements of psychoanalysis.

Sep 17, 2007 — Today we are used to seeing dance artistically presented on television and in movies—these films about Martha Graham helped to make that happen.

Sep 3, 2007 — Ataxi, without a client in the car or anywhere else in sight, goes around Helsinki’s Senate Square, a place that resonates with history, having seen more patriotism, class struggle, and celebration than any other place in faraway Finland. It stood...

Sep 3, 2007 — Iwas a cab driver once myself (in Los Angeles, in the mid-1970s), and I’ve been sensitive ever since to how the profession is portrayed on the screen. As it happened, I was driving a cab when Taxi Driver came out,...

Sep 3, 2007 — It came from nowhere, it’s always been here—or so Stranger Than Paradise might seem.Jim Jarmusch had completed his first feature, Permanent Vacation, in 1980 and spent the next four years working on his second. Screened a few times as a...

Jul 9, 2007 — Hiroshi Teshigahara’s late work is a masterful amalgam of high international modernism and traditional Japanese fine arts.

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.