The Criterion Collection
The actor and director shares his intimate connections to Eating Raoul and The Great Escape, explains what defines “the Lubitsch touch,” and praises the heartrending performances in The Last Picture Show.
On the Channel
Nov 18, 2018 — This diva of the screen brought a touch of elegance and no-nonsense wit to her roles in Waiting Women, Smiles of a Summer Night, and other Bergman gems.
Criterion Designs
Feb 27, 2019 — Studio Visits Growing up in Houston, Texas, in the 1970s and ’80s, Greg Ruth fell in love with art but had a hard time imagining himself pursuing it professionally. But almost three decades of devotedly plying his craft as an illustrator in a...
On the Channel
Nov 18, 2018 — Ingmar Bergman scholar Peter Cowie explores how the great actor’s authoritative screen presence allowed him to embody the director’s fears and ideals.
Sneak Peeks
Jul 19, 2016 — A cornerstone of the martial arts film genre, King Hu’s magisterial A Touch of Zen was the first Chinese movie to receive a prize at the Cannes Film Festival. Thanks to a pristine new restoration, this sprawling portrait of Ming...
The Daily
Jul 21, 2026 — New restorations of the first three features premiere this weekend, followed by a retrospective next month.
On the Channel
Jul 17, 2026 — Channel Calendars This month on the Criterion Channel, crank up the volume on our playlist of (actually good) rock biopics that go beyond cliché to explore the elusive place where inspiration sparks and musical legends are born. Our Southern Gothic...
Jun 22, 2026 — Deep Dives In 1971, upon the release of his first and only feature film, James Bidgood pulled a disappearing act. He had spent the better part of seven years shooting Pink Narcissus, a hallucinatory tale of a daydreaming gay hustler, on...
The Daily
Jun 1, 2026 — The world’s most desolate film festival expands to nearly a hundred theaters in seventy-three cities.
May 27, 2026 — When Joachim Trier made his debut in 2006 with the film Reprise, I felt as if a veil had been lifted. There was nothing wrong with Norwegian cinema before Trier’s arrival, but it always seemed to be about someone else,...