The Criterion Collection
Jun 1, 2016 — With Wrong Move, Wim Wenders made “a movie about the impossibility of moviemaking, a road movie about the uselessness of travel, a literary film about the impossibility of communication.”
Jun 1, 2016 — The Moviegoer, a biweekly online column published by the Library of America, has been a locus of terrific writing about classic literature-inspired films since it launched in February. Curated by film critic Michael Sragow, the column features a roster of...
May 31, 2016 — With Alice in the Cites, Wim Wenders created one of the most nuanced and complex portraits of an empowered young girl ever seen on-screen.
May 26, 2016 — During the conductor and composer’s visit—a day after he’d led the New York Philharmonic in a live orchestral performance of the score to City Lights—we talked about his love for early cinema, the delicate process of restoring Chaplin’s music, and...
May 25, 2016 — For the past ten years, we’ve been proudly welcoming the Bronx-based school’s students into our Criterion family. As the 2016 school year ends, we’re thrilled to watch another class of young filmmakers express their vision and employ what they’ve learned...
Essays
May 24, 2016 — In The Player, Robert Altman’s early nineties comeback film, the director brilliantly skewers Hollywood—getting all the details right, as only he could—while constructing his own kind of Hollywood Movie.
Short Takes
May 24, 2016 — “I always thought of musicians as being the saints of our time,” says documentary filmmaker D. A. Pennebaker in a recent interview for the New York Times on the subject of his 1967 vérité portrait of Bob Dylan Dont Look...
Short Takes
May 17, 2016 — For decades, celebrated Italian film composer Ennio Morricone has been lending his musical talents to directors from Pier Paolo Pasolini and Sergio Leone to Terrence Malick and Quentin Tarantino. In the latest installment of the Guardian’s weekly This Much I...
May 17, 2016 — Juxtaposing a vision of a stark, primitive existence on a remote Japanese island with that country’s vast twentieth-century modernization, Kaneto Shindo reveals Japan’s postwar paradoxes and makes a case for its essential, immutable character.
May 17, 2016 — Before the release of his new film Sunset Song, the beloved filmmaker stopped by the Criterion kitchen for lunch and became especially animated when our discussion drifted toward two of his great loves: the plays of Anton Chekhov and musicals...