The Criterion Collection
The Daily
May 18, 2017 — “Todd Haynes’s films, intellectually rigorous and often profoundly moving, are fractured stories in which alienated, beautiful characters try to find love (or a certain likeness) in the delicate folds of real life,” begins David Ehrlich at IndieWire. “All of this...
Features
Jun 17, 2013 — The author introduces a new Current series that will feature his reminiscences about his encounters in international cinema circles over the past five-plus decades.
Apr 12, 2011 — A nightmare from which no one awakes, Claire Denis’ White Material (2009) takes place in a nameless African country teetering on the brink of all-out civil war. It is the veteran French director’s toughest work, unsparing with its characters and...
Essays
May 9, 2005 — This seminal documentary conveys the particular seductiveness and resonance of the dream of going pro for two talented Chicago teenagers.
Jun 21, 1994 — From the opening credits of Spike Lee’s seminal film, She’s Gotta Have It, viewers in 1986 were able to recognize the presence of an extraordinary talent. For it was Lee, a graduate of the New York University’s Tisch School of...
Jun 23, 2003 — Ermanno Olmi’s seldom-cited debut feature, the 1958 Time Stood Still, is a wonderful film, but it was the one-two punch of his second and third films that put him on the international movie scene map. Il Posto and I Fidanzati...
Essays
Mar 15, 2004 — This Japanese classic’s guiding passion is hunger, and its central image—a gaping black hole in the earth—is that of an all-consuming maw.
Dec 17, 2025 — Amid the disorientation of the COVID-19 era, this rousing film cut through with a life-affirming reminder that community and connection are still possible.
Sep 26, 2024 — The directors discuss their award-winning documentary Bad Press and their effort to invert the exploitative dynamics that have long existed between documentary filmmakers and Indigenous communities.
Jul 23, 2024 — Unlike the string of early-1980s sex comedies that it superficially resembles, Paul Brickman’s debut feature fuses fierce social satire and dark, dreamy eroticism with unexpectedly rich and ambiguous results.