The Criterion Collection
The Daily
Aug 13, 2019 — As Toronto’s full lineup nears completion, New York looks to expand upon “our notions of what the moving image can do and be.”
Apr 16, 2019 — Most proper New Waves of the 1960s came equipped with a rough balance of assimilable superstars and genuine radicals, and for the Czechoslovaks, the guerrilla flank was led by Jan Němec. Jiří Menzel was adored globally for his wry humor,...
Visual Analysis
Jan 23, 2019 — Under the Influence With his latest movie, They’ll Love Me When I’m Dead, Oscar-winning documentary filmmaker Morgan Neville trained his focus on one of cinema history’s most outsize personalities. The film—released just months after Neville’s Fred Rogers profile Won’t You...
The Daily
Jan 17, 2019 — SXSW presents a program of 102 features and episodics, and the Berlinale’s competition and Special lineups are now complete.
Features
Nov 23, 2018 — The work of James Agee (1909–1955) remains one of the touchstones of American movie criticism. An extraordinarily versatile writer, he won acclaim as a novelist, a poet, and a screenwriter (his scripts for The African Queen and The Night of the...
Apr 19, 2018 — With a mix of improvisation, balletic physicality, and slapstick humor, Hollywood master Leo McCarey crafted the most sublime of screwball comedies.
Production Notes
Apr 27, 2017 — 1. As I began work on The Kennedy Films of Robert Drew and Associates, I knew that 1960’s Primary was really the birth of what we think of as the modern documentary: observational photography based on access to an interesting subject, presenting...
Apr 26, 2016 — “It is not an exaggeration to say that before Primary, documentary as we know it today—the art of candid observation—didn’t exist,” writes Thom Powers.
Essays
Apr 23, 2013 — Who is Pierre Etaix and where has he been all your life? This is the story of a filmmaker who was vanished, banished, skipped over. It’s as if one of those invisible cubicles mimes are always getting themselves shut in...
Nov 27, 2008 — An enormous welter of insoluble problems is on display in Luis Buñuel’s classic—the ending solves nothing; the story just begins again.