The Criterion Collection
The Daily
Jun 14, 2017 — New York’s BAMcinemaFest opens tonight with Aaron Katz’s Gemini and closes on June 24 with Alex Ross Perry’s Golden Exits. “Now celebrating its ninth year, this modest yet prestigious festival, so shrewdly curated, so reliably comprehensive a treasury of contemporary...
Jun 12, 2017 — Informed by his work in theater and his travels through rural America, Nicholas Ray brought an outsider’s perspective to genre filmmaking in his debut feature.
Jun 6, 2017 — Combining sardonic humor with poignant characterizations, this cult comedy explores the discontents of two high-school graduates adrift in strip-mall America.
Jun 2, 2017 — In this supplemental feature from our newly released edition, the cast of Terry Zwigoff’s first narrative film discuss the creative freedom they experienced while working with him.
May 30, 2017 — In his brilliantly inscrutable debut, Apichatpong Weerasethakul blends documentary authenticity with wild flights of imagination.
May 30, 2017 — Manhattan’s Quad Cinema reopened last month with a series of events that highlighted the emotional immediacy that comes with the experience of watching movies for the first time.
May 27, 2017 — “When French writer Delphine le Vigan published her book Based on a True Story in 2015, some critics dubbed it ‘a Hitchcockian novel,’” begins Jonathan Romney, writing for Screen. “It’s not surprising, then, that Roman Polanski’s adaptation is very Hitchcockian...
May 26, 2017 — Let’s take a quick break from the Cannes Film Festival to make note of a bit of reading we might take into the holiday weekend. There’ll be much more in a roundup to come, but for now, this entry will...
The Daily
May 20, 2017 — “If he hadn’t already laid claim to the title of king of the cringe-inducing confrontation and nabob of the nervous laugh with the withering Force Majeure, Ruben Östlund truly anoints himself with The Square, an excoriating razor-burn of a movie...
May 19, 2017 — “Kornél Mundruczó’s Jupiter’s Moon is a messily ambitious and over-extended movie with some great images,” writes the Guardian’s Peter Bradshaw: “[L]ike his previous picture White God it leaves behind the somewhat torpid realist mannerisms of his even earlier films such...