The One

Nov 2, 2016 — The morning after opening his first theater in Brooklyn, Alamo Drafthouse cofounder stopped by Criterion to chat about his life as a collector

Oct 18, 2016 — Guillermo del Toro’s anti–Wizard of Oz refracts the surreal traumas of the Spanish Civil War through the eyes of a young girl.

Sep 16, 2016 — Critic Phillip Lopate explores the duality of the director’s approach to his female protagonists and asks whether his films are proto- or antifeminist.

Sep 12, 2016 — Before kicking off a week run of To Sleep with Anger at the Film Society of Lincoln Center, the influential director joined us for a conversation about how his encounters with international cinema inspired him as a filmmaker of color.

Aug 30, 2016 — Set in nineteenth-century Macao, Orson Welles’s adaptation of a classic tale by Isak Dinesen is a hypnotic meditation on the pitfalls of storytelling.

Aug 23, 2016 — In honor of the filmmaker, who passed away in 2016 at the age of ninety-two, Alan Arkin recalls the man who directed him in two of his favorite films, Popi and The In-Laws.

Jul 19, 2016 — Time is both inescapable and irretrievable in Alain Resnais’s boldly disorienting masterpiece, which stars Delphine Seyrig as a widow haunted by her memories of World War II.

Jul 18, 2016 — Criterion’s resident researcher and web producer takes a trip to Madrid bookstore Ocho y Medio, which she calls “a shrine to Spanish contributions to the seventh art.”

Jul 14, 2016 — On what would have been the director’s ninety-eighth birthday, we revisit a selection of essays, photo galleries, and videos that explore his iconic oeuvre.

Jun 30, 2016 — The film is is a high-water mark in the careers of its director, actors, and cowriter. But for design nerds, the contributions of Pablo Ferro, who designed the film’s iconic opening credit sequence, are just as notable.