“Le tentazioni del dottor Antonio” (“The Temptations of Doctor Antonio”)

Apr 8, 2021 — If I wanted to do justice to my memory of Bertrand Tavernier, I would have to tell half my life. That’s why I prefer to start with his films—and with the one I perhaps like the best. In Coup de...

Aug 14, 2006 — “Some people think rohmer is in league with the devil,” wrote cinematographer Nestor Almendros in his book of autobiographical reflections on the cinema, A Man with a Camera. He was describing his working experience on My Night at Maud’s (1969)....

Jun 21, 2004 — Nouvelle vague euphoria was at its height when Jean-Luc Godard made his enormously clever third feature.

Feb 22, 2011 — This week, Time is all too happy to judge a movie by its cover. Gilbert Cruz, an editor at the magazine, has compiled a list called “Top 10 Cool Criterion Collection Covers.” Cruz’s taste in design tends toward illustration over...

Sep 9, 2019 — In his thought-provoking latest book, the critic and frequent Criterion contributor traces the complex ways European filmmakers have grappled with the influences of Christianity and modernity.

The writer and director of Magellan praises the use of silence and space in Le samouraï, talks about how Mike Leigh and Kenji Mizoguchi explore the human condition in their films, and selects his good friend Béla Tarr's Werckmeister Harmonies.

So Mayer is the author of Truth & Dare (2023), A Nazi Word for a Nazi Thing (2020), Political Animals: The New Feminist Cinema (2015), and The Cinema of Sally Potter: A Politics of Love (2009), and the coeditor of...

Jul 5, 2019 — This week, we look back on the making of If...., black filmmakers in the 1990s, and the golden age of Mexican cinema.

Feb 16, 2004 — Henri-Georges Clouzot took the standard ingredients of the Continental-Films detective movies and used them to make something darker and more complex—to make, in fact, the first classic French film noir.

Dec 22, 1992 — With a script by Graham Greene, Carol Reed’s thriller plays upon the classic themes of trust, innocence, betrayal, and truth through the lens of a precocious eight-year-old.