The Criterion Collection
Jan 26, 2010 — If Paris, Texas is a love letter to America and American cinema, it now also has something of the feel of a farewell: the world to which Wenders pays homage is vanishing fast.
Sep 22, 2009 — Something very heavy happened at Monterey last weekend. Those very odd three days began in Friday’s cool gray air as the first of the crowd began to circle through the booths of the fairground. The only word for it then...
Essays
Aug 18, 2009 — Jacques Tati’s masterpiece converts work into play so pleasurably that it turns the very acts of seeing and hearing into a form of dancing.
Apr 30, 2009 — The concept of “obscenity” is tested when we dare to look at something that we desire to see but have forbidden ourselves to look at. When we feel that everything has been revealed, “obscenity” disappears and there is a certain...
Apr 9, 2009 — The first time I “met” Max was in May of 1959, when Bergman’s stunning production of Urfaust came to London for just one week in the World Theatre Season. Groupie of all things Swedish that I was, I waited outside...
Dec 16, 2008 — There has never been another movie quite like Carol Reed and Graham Greene’s masterpiece—a borderline counterintuitive combination of disparate elements that somehow come together as if they had been destined to do so.
Oct 20, 2008 — Though he had been directing films since the silent era, Kenji Mizoguchi didn’t become an international sensation until after the Second World War, benefiting from a new fascination with Japan’s cinematic output.
Essays
Jul 14, 2008 — Linguistic cosmopolitanism in the Babel-like world of commerce and culture is one of Jacques Tati’s several satirical targets.
Mar 27, 2006 — The Italian drama marked the first full blossoming of director Vittorio De Sica and screenwriter Cesare Zavattini’s ongoing collaboration.
Sep 29, 2003 — Rainer Werner Fassbinder dedicated his final energies to bringing the lost, gray years of postwar Germany back to life.