The Criterion Collection
The Daily
Sep 8, 2025 — Father Mother Sister Brother and The Voice of Hind Rajab win top awards in Venice.
The Daily
Jun 20, 2024 — All the Archers’ classics but also more than a few rarities will screen as part of MoMA’s comprehensive retrospective.
The Daily
Sep 19, 2023 — Warmly received in Venice, Cooper’s portrait of Leonard Bernstein and Felicia Montealegre now heads to festivals in New York, Zurich, London, Mill Valley, and Los Angeles.
The Daily
Jun 30, 2022 — Wim Wenders, Alice Diop, Pedro Almodóvar, and the Cinémathèque française feature in this week’s picks.
Essays
Aug 11, 2020 — The Complete Films of Agnès Varda The poster for the seventy-second Cannes Film Festival, held in May 2019, used a photograph taken during the shooting of Agnès Varda’s first film, La Pointe Courte, in 1954. Wearing rolled-up trousers, a shirt,...
The Daily
Jun 1, 2017 — “The greatest filmmakers, like the greatest novelists and poets, are trying to create a sense of communion with the viewer,” writes Martin Scorsese in the new issue of the TLS. “They’re not trying to seduce them or overtake them, but,...
Jun 10, 2011 — Bringing Junichiro Tanizaki’s sprawling, elegiac historical novel The Makioka Sisters (1948) to the screen would seem an undertaking tailor-made for Kon Ichikawa. The renowned writer’s work was familiar territory for the veteran director, who had adapted the quirky Tanizaki novella...
The Daily
Jan 17, 2018 — The Berlin International Film Festival has now completed the lineups for two of its programs, Forum Expanded and Generation. Back in December, the Berlinale announced a first round of Generation titles selected for younger viewers, so what we have today...
Sep 18, 2006 — Released in 1973, in the dying days of General Franco’s forty-year dictatorship, The Spirit of the Beehive soon established itself as the consummate masterpiece of Spanish cinema. Yet, strangely, many of the gifted artists who collaborated on Víctor Erice’s first...
May 27, 2025 — Suffused with slapstick humor and slightly surreal wit, Richard Lester’s beloved take on a frequently adapted adventure epic embodies a style of extravagant filmmaking that didn’t survive long past the 1970s.