The Criterion Collection
Interviews
Oct 16, 2014 — This past August, on the occasion of Volker Schlöndorff’s being selected for a Silver Medallion award by the Telluride Film Festival, Criterion’s Peter Becker talked with the German filmmaker about his long career. A short version of the conversation was...
In Theaters
Aug 7, 2014 — Repertory PicksOn August 13, the Cleveland Museum of Art will screen part one of Raymond Bernard’s monumental 1934 film Les misérables, probably the best big-screen adaptation of Victor Hugo’s novel, and the only one that gave it a running time...
Jul 30, 2014 — A friend and longtime scholar of Jacques Demy ruminates on the great director’s career, as well as the port hometown they shared—which would become a magical movie location.
Jun 2, 2014 — One Scene When I first heard about The Human Condition (1959–61), I was already familiar with director Masaki Kobayashi’s irreverent Harakiri (1962), a favorite film of mine where samurai are scum of the earth and honor is equivalent to dirt....
Features
May 30, 2014 — The long relationship between director and festival has never been without its complications.
May 23, 2014 — Did You See This?• Richard Linklater and the Bernie situation • Celebrating lighting godfather Gordon Willis • Hitchcock/Truffaut: the movie • A new book seeks the Lubitsch touch. • Take another drive with Two-Lane Blacktop. • A new video interview...
May 5, 2014 — Billy Wilder’s Ace in the Hole almost requires an honorary expansion of the term film noir. There are no private eyes in seedy offices or femmes fatales lurking in the shadows of neon-lit doorways, no forces of evil arrayed against...
Apr 27, 2014 — A leading light of commedia all’italiana, Dino Risi specialized in fleet, satirical takes on contemporary Italian culture, and this road-trip smash was his most trenchant.
Apr 22, 2014 — Carl Theodor Dreyer’s spare and modern visual style perfectly complements this comic and soulful domestic comeuppance story.
Mar 24, 2014 — Rome is as exquisite as it is suffocating in Paolo Sorrentino’s profound tale of contemporary entropy.