No Way Back

Mar 17, 2016 — Decades later, Ingmar Bergman’s self-reflexive masterpiece remains a provocative enigma worthy of close investigation.

Sep 16, 2014 — The following interview is from filmmaker and writer Chris Rodley’s 1997 book Lynch on Lynch. The interviews in the book were conducted by Rodley between January 1993 and December 1996. Eraserhead took five years to complete. You must have been...

Oct 22, 2013 — The disc of Faces that you now hold is the most beautiful copy possible of a film that was meant to look lousy. Digital technology painstakingly reproduces John Cassavetes’s lighting, which allowed his actors to move about freely, and so...

Jun 22, 2009 — So much critical ink has been shed over Last Year at Marienbad that one might wonder if the flood of commentary, once receded, would take the film along with it. Alain Resnais’ second feature has been lavishly praised and royally...

Apr 23, 2009 — These profiles of the real-life Sada Abé and the actress who portrayed her in Nagisa Oshima’s In the Realm of the Senses first appeared in Donald Richie’s 1987 book Different People: Pictures of Some Japanese, and can also be found...

Jul 21, 2008 — Carl Theodor Dreyer’s elliptical and dreamlike vampire film defies definitive shots at interpretation.

May 11, 2015 — The poignancy of Leo McCarey's tearjerker is due as much to the director's scrupulous aesthetic choices as his unforgettable characters and story.

Oct 7, 2020 — Martin Scorsese’s World Cinema Project No. 3 Spanning almost fifty years and four continents, Criterion’s recently released third collection of films restored by The Film Foundation’s World Cinema Project is a treasure trove of discoveries, each illuminated by a unique...

Mar 14, 2017 — Religious fanaticism and anti-Communist hysteria give way to mass violence in this groundbreaking work of Mexican political cinema.

Oct 4, 2016 — This account of a visit to the Beyond the Valley of the Dolls set is excerpted from an issue of the University of California, Los Angeles, newspaper.