The Criterion Collection
Essays
Aug 11, 2020 — The Complete Films of Agnès Varda The poster for the seventy-second Cannes Film Festival, held in May 2019, used a photograph taken during the shooting of Agnès Varda’s first film, La Pointe Courte, in 1954. Wearing rolled-up trousers, a shirt,...
The Daily
Apr 30, 2020 — Festivals scheduled through August are taking their editions online, while studios and theater chains face off over digital releases. Here’s the latest on the impact of the virus.
The Daily
Sep 11, 2019 — Following his landmark collection of photographs, The Americans, Frank made essential films about the Beats, the Stones, and his own personal tragedies.
Features
Nov 23, 2018 — The work of James Agee (1909–1955) remains one of the touchstones of American movie criticism. An extraordinarily versatile writer, he won acclaim as a novelist, a poet, and a screenwriter (his scripts for The African Queen and The Night of the...
The Daily
Jun 8, 2017 — When we think of American cinema in the 1970s, it’s the “New Hollywood” that first comes to mind, landmark films such as The Godfather and Taxi Driver, Nashville and Chinatown. In his new book, Opening Wednesday at a Theater or...
Apr 22, 2014 — Carl Theodor Dreyer’s spare and modern visual style perfectly complements this comic and soulful domestic comeuppance story.
May 13, 2009 — Alexander Korda’s oeuvre is often characterized as larger-than-life, undoubtedly in part because the figures he was attracted to—kings and queens, legendary lovers and great artists—were often extraordinary.
Aug 23, 2004 — This drama about young dreamers is the first definitive plunge into many of Federico Fellini’s dominant thematic and imagistic preoccupations.
Essays
Jun 3, 2002 — By any standard, The Horse’s Mouth shines as an outstandingly personal work from a decade that often seems the most arid in British cinema. Amid tepid comedies and timid thrillers, it sparkles with conviction and eccentricity—at least that’s how it...
The Daily
Apr 20, 2026 — For half a century, she was, as Emmanuel Macron put it, “a constant presence in French cinema.”