The Criterion Collection
Sep 16, 2016 — Did You See This? Over at The Quietus, director Joe Dante selects his thirteen favorite films, including David Lynch’s Mulholland Dr., Preston Sturges’s Sullivan’s Travels, and Ernst Lubitsch’s To Be or Not to Be. Angelo Badalamenti sits down with Vulture...
Sep 13, 2016 — Kenji Mizoguchi achieved the sublime with this structurally complex portrait of artistic ambition and female subjugation.
Sep 9, 2016 — To celebrate the release of this revelatory self-portrait that weaves together footage from Johnson’s twenty-five-year career as a globetrotting documentary cinematographer, we’ve compiled a selection of writing about the film.
Sep 1, 2016 — Balancing epic scale with lyrical intimacy, Orson Welles inflects the spirit of Shakespeare’s history plays with his own zest for cinematic invention.
Aug 30, 2016 — Set in nineteenth-century Macao, Orson Welles’s adaptation of a classic tale by Isak Dinesen is a hypnotic meditation on the pitfalls of storytelling.
Features
Aug 14, 2016 — While considered to lie outside the highly policed boundaries of film noir, films like Douglas Sirk’s Written on the Wind and Powell and Pressburger’s The Red Shoes nevertheless share many of noir’s stylistic and thematic tropes.
Production Notes
Jul 18, 2016 — Criterion’s resident researcher and web producer takes a trip to Madrid bookstore Ocho y Medio, which she calls “a shrine to Spanish contributions to the seventh art.”
Jul 12, 2016 — Herk Harvey’s influential, low-budget horror classic Carnival of Souls is an eerie exploration of the mutability of place and the purgatorial state of dreaming.
Short Takes
Jul 11, 2016 — In anticipation of a retrospective tribute to the collaborations of Rowlands and filmmaker John Cassavetes, we look at a candid conversation with the actor.
Jun 22, 2016 — In honor of the semicentennial anniversary of Kartemquin Films, the influential documentarian discusses his groundbreaking, Kartemquin-produced 1994 film Hoop Dreams, what his work with the company has meant for him, and how Kartemquin has grown over the past fifty years.