The Criterion Collection
Essays
Jul 12, 2022 — In David Lean’s Venice-set romance, a fleeting love affair prompts a woman’s self-exploration.
Jun 28, 2022 — Boasting a larger-than-life Divine, John Waters’ underground classic finds the sublime in the ridiculous.
Jun 22, 2022 — The long, quietly tense opening minutes of L’eclisse offer a blueprint for filmmakers looking to craft a devastating breakup scene.
The Daily
Jun 17, 2022 — This week: Surrealism and cinema, a Cold War “travesty,” talking about Bruno, and walking in Hong Kong.
The Daily
Jun 7, 2022 — Olivier Assayas has his reasons for retelling the story of a remake.
Jun 1, 2022 — With his love of dissonance and bold use of dramatic motifs, the Hungarian-born composer Miklós Rózsa popularized a whole new style of film music.
The Daily
May 24, 2022 — While some critics expected more gore, others see a wryly wise reflection on our biological future.
The Daily
May 20, 2022 — Critics take a first look at new films from James Gray, Felix van Groeningen and Charlotte Vandermeersch, Mia Hansen-Løve, Saela Davis and Anna Rose Holmer, and Pietro Marcello.
May 17, 2022 — A new restoration of The Mother and the Whore launches Cannes Classics before Final Cut officially raises the curtain.
Apr 19, 2022 — Frank Tashlin directs Jayne Mansfield to her cartoonish limits in this outrageous showbiz satire that is a testament to the power of bad taste.