The Criterion Collection
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...
Feb 19, 2016 — The filmmaker, who began his career as a stage director and designer before shifting his focus to movies, swung by for a chat about his new film and his lifelong affinity for the macabre.
In Theaters
Jan 7, 2016 — This month, the Boston Museum of Fine Arts is hosting the series Words in Motion: Graham Greene as a Screenwriter, celebrating the British author’s important contribution to the medium.
Dec 8, 2015 — In Speedy, Harold Lloyd, a comic genius who thought of himself as a quintessentially average American man, places his optimistic everyman character within the context of a society in shift, to great comedic effect.
Nov 19, 2015 — Satyajit Ray’s long-heralded cinematic achievement was influenced by European cinema but also grew out of long-standing Indian artistic tradition.
In Theaters
Nov 19, 2015 — There’s no better time than a crisp Sunday evening in November to cozy up and take in a spooky Victorian ghost story. This weekend, if you’re in Columbia Heights, Minnesota, you can do just that.
Interviews
Nov 18, 2015 — On the night of the New York premiere of Gaspar Noé’s controversial new film Love, his 3D cinematic sex odyssey, the French-Argentine provocateur stopped by Criterion with the film’s star, Aomi Muyock.
Mar 30, 2015 — A master of using the camera to draw truth from interview subjects, Errol Morris was unsurprisingly a candid and fascinating interview subject himself in new supplements we made for the Criterion releases of Gates of Heaven/Vernon, Florida and The Thin...
Mar 9, 2015 — François Truffaut’s adultery drama is at times corrosively funny and at others frighteningly tense, but it’s always incisive and humane.
Jan 26, 2015 — Scenes without endings, sounds without corresponding images, actions without seeming motivation—Lucrecia Martel’s sense-heightening debut offers a cinema of subtraction.