The Criterion Collection
May 31, 2022 — Wayne Wang’s breakthrough feature, a milestone in Asian American cinema, is a humorous and intimate snapshot of San Francisco’s Chinatown.
May 25, 2022 — Combining the expressive power of a great storyteller with the skill of a master craftsman, Sean Phillips is an artist we’ve come back to time and time again at Criterion. From Sweet Smell of Success to On the Waterfront to...
The Daily
May 24, 2022 — While some critics expected more gore, others see a wryly wise reflection on our biological future.
May 17, 2022 — A new restoration of The Mother and the Whore launches Cannes Classics before Final Cut officially raises the curtain.
May 12, 2022 — New York’s Museum of the Moving Image presents a series of nineteen films shot by the accomplished cinematographer.
The Daily
May 10, 2022 — The director of Ex Machina and Annihilation returns, and many critics have questions.
The Daily
May 6, 2022 — This week: Tarkovsky’s answer to Kubrick, the Otolith Group, Brooklyn filmmakers, German scenes, and Béatrice Dalle.
The Daily
May 5, 2022 — A coincidental set of screenings and openings almost seems to be responding to the impending reversal of Roe v. Wade.
May 5, 2022 — Has Asian American cinematic representation really reached unprecedented heights, as almost all recent film coverage on the subject claims? In the past two years, critics’ polls, New York Times features, and Golden Globes scandals have marked the newfound success of...
The Daily
May 4, 2022 — The twenty-fifth edition offers lavish decadence, experimental poetry, and timely poignance.