The Criterion Collection
Mar 14, 2017 — Religious fanaticism and anti-Communist hysteria give way to mass violence in this groundbreaking work of Mexican political cinema.
Feb 17, 2017 — In 1970, legendary filmmaker Roger Corman founded New World Pictures, an independent studio that produced and distributed everything from B-movies and exploitation films to acclaimed foreign art-house fare by Federico Fellini, François Truffaut, and Ingmar Bergman. It became a breeding...
Dec 21, 2016 — Garrett Brown in our kitchen reenacting a Steadicam-shot scene from Blow Out In 1975, the cameraman Garrett Brown revolutionized filmmaking technology with the Steadicam, an invention that brought together the agility and immediacy of a handheld camera with the smoothness and...
Essays
Dec 14, 2016 — Pseudodocumentary collides with pure fantasy in Federico Fellini’s intricately layered portrait of his adopted home.
Dec 6, 2016 — This elegiac meditation on impermanence showcases Laurie Anderson’s playfully experimental approach to sound and image.
Jun 22, 2016 — In honor of the semicentennial anniversary of Kartemquin Films, the influential documentarian discusses his groundbreaking, Kartemquin-produced 1994 film Hoop Dreams, what his work with the company has meant for him, and how Kartemquin has grown over the past fifty years.
Apr 12, 2016 — Howard Hawks’s 1939 aviation classic Only Angels Have Wings is an exemplar of the auteurist Hollywood entertainer’s capability to fuse “a personal existential statement and a delightful piece of showmanship.”
Sep 28, 2015 — Rarely has schizophrenia been closer to the surface of American cinema than in the transitional period of 1968–71. Hollywood had just abandoned its censorship code after nearly thirty-five years, and the behemoth studios were heaving and rattling into oblivion or...
Jun 22, 2015 — Terry Gilliam touches down in the real world for the first time with this fanciful tale of blurred class boundaries in New York City.
Essays
Dec 10, 2014 — Social satire, women’s melodrama, queer metaphor, or horror movie? Todd Haynes’s elusive masterpiece is all of these and none of them.