The Criterion Collection
Sep 20, 2016 — Cloaked in chiaroscuro and innuendo, this stylistically innovative creature feature leaves its greatest horrors to the imagination.
Features
Apr 17, 2026 — From a distance—looking down, say, from a penthouse office in a glass-paned downtown skyscraper—the U.S. economy of the 1990s and early 2000s could feel almost boring. Between Black Monday in 1987 and the Global Financial Crisis twenty years later, growth...
Essays
Jul 12, 2022 — In David Lean’s Venice-set romance, a fleeting love affair prompts a woman’s self-exploration.
Sep 15, 2020 — When Claire Denis’s Beau travail (1999) first appeared on American screens, the critic Stephen Holden used a striking phrase to capture its embracing of bold opposites: “voluptuous austerity.” His characterization, widely quoted since, illuminates the film on many levels, and...
Features
Aug 14, 2020 — One Scene Over the course of an adventurous career that encompassed narrative and documentary filmmaking as well as photography, sculpture, and video installation, Agnès Varda was a shape-shifter who merged her deep engagement with social reality with a playful, endlessly...
Essays
Dec 11, 2013 — This political drama was made in Mexico at a revolutionary moment and represents an extraordinary confluence of international talent.
The Daily
Sep 11, 2020 — As Toronto opens, here’s an overview of early critical response to some of the festival’s titles arriving directly from their premieres in Venice.
Features
Jul 31, 2017 — What is the defining characteristic of the femme fatale? Critic Imogen Sara Smith explores the range of this film noir archetype through a handful of classic performances.
Mar 4, 2016 — Over the past half century, production designer Jack Fisk has created some of cinema’s most memorable on-screen worlds—from the farmlands of early-twentieth-century Texas to the byways of contemporary Los Angeles.
Essays
Jul 1, 2025 — Made nearly two decades into Fritz Lang’s Hollywood career, this brutal noir is designed for maximum velocity and impact, eschewing the director’s accustomed flourishes in favor of a stark literalness.