It Lives Again

Aug 14, 2006 — The Bakery Girl of Monceau and Suzanne’s Career are not Eric Rohmer’s first films. By 1963, he had made several shorts and one feature, Le signe du Lion. Yet these two short works—with their meticulously charted Paris locations; their semidocumentary...

Dec 11, 2018 — Note: The terms black and white were part of the way racial categories were referred to in South Africa under apartheid. Other terms, like nonwhite and non-European, were also used to mark racial segregation. In the following essay, the term...

May 12, 2026 — Sorting through critics’ most-anticipated titles, catching up with interviews and profiles, and more.

Oct 29, 2025 — In her intensely personal debut feature, the filmmaker and poet investigates the myths that have shaped South African history through a mix of archival footage, poetic remembrances, and conversations with friends and family.

Jan 23, 2025 — In the run-up to the forty-first edition, critics have been writing up lists of their most-anticipated films.

Sep 20, 2023 — Few of Wang’s films contrast as starkly as Youth (Spring) and Man in Black, and both are set to screen in New York.

Dec 11, 2019 — One Scene “Who can prove the genuineness of our feelings?” a character asks at one point in the Cannes-award-winning sci-fi drama Little Joe, the first English-language film by Austrian director Jessica Hausner. The question is as good a summation as...

Sep 9, 2019 — In his thought-provoking latest book, the critic and frequent Criterion contributor traces the complex ways European filmmakers have grappled with the influences of Christianity and modernity.

Apr 13, 2018 — “Miloš Forman, the anti-authoritarian director who left his native Czechoslovakia for creative freedom in the U.S. and captured Oscars for the masterpieces One Flew Over the Cuckoo’s Nest and Amadeus, has died.” Duane Byrge for the Hollywood Reporter: “Forman first...

May 10, 2016 — Nicholas Ray’s In a Lonely Place imbues the conventions of film noir with a subtle, tense vulnerability that lends a naturalistic weight to the film’s powerful emotional impact.