The Criterion Collection
The Daily
Jun 9, 2017 — “The 25 Best Films of the 21st Century. So Far.” Frankly, this time of year, my cursor tends to fly right over a headline like that, having worn itself out on such lists from Thanksgiving through Oscar Night. But this...
The Daily
Jun 6, 2017 — Once again, we open an entry with a tip from Catherine Grant, the new twelfth issue of Cine-Files, a special commemorative issue “dedicated to the films and artistic legacy of Jacques Rivette and Chris Marker.” Editor Mary Wiles: “Both directors,...
May 30, 2017 — In his brilliantly inscrutable debut, Apichatpong Weerasethakul blends documentary authenticity with wild flights of imagination.
The Daily
May 23, 2017 — “Of all of the documentaries made about North Korea by Westerners in recent years, Claude Lanzmann’s Napalm, which premiered Sunday out of competition at Cannes, is by far the most peculiar, not to mention the most brazenly narcissistic,” writes Cineaste...
Features
Apr 10, 2017 — An exhibition at New York’s Museum of the Moving Image explores Martin Scorsese’s creative process, his deep personal connection to his films, and his lifelong cinephilia.
Essays
Feb 5, 2017 — Kirsten Johnson interrogates the thorny ethics of nonfiction filmmaking in her intriguingly elliptical blend of essay, travelogue, and memoir.
On the Channel
Jan 1, 2017 — The Korda brothers’ voluptuous fantasy Jungle Book—directed by Zoltán, produced by Alexander, and art-directed by Vincent—captures that mood-swinging moment in late childhood when the adult world seems to be unbearably corrupt and nothing could be more exhilarating than escaping to...
Jun 7, 2015 — Critic Glenn Kenny reveals the connection between two classics: Nicolas Roeg’s film Don’t Look Now and Robert Wyatt’s album Rock Bottom.
Features
Jun 4, 2015 — Rainer Werner Fassbinder stocked the cast of The Merchant of Four Seasons with friends and colleagues from his experimental theater days.
Sep 23, 2014 — In director Jack Clayton’s hands, Henry James’s tale of the sinister and sensual things hiding behind Victorian decorum becomes one of the screen’s great works of terror.