The After

Jul 23, 2021 — Deep Dives In later years, Buster Keaton referred to his signing of a contract with MGM as “the worst mistake of my career.” In 1928 it was purely a business decision. The last few films he had made for his own...

Jul 19, 2021 — The Palme d’Or, Caméra d'Or, Un Certain Regard Prize, and Palme d’Or for best short film have all gone to women directors.

Jul 8, 2021 — Some critics find it better than Synonyms, and while others don’t, everyone agrees that this is the Israeli director’s “most radical movie yet.”

Jun 15, 2021 — These landmark documentary portraits of intergenerational struggle in Seattle expose social horrors while also revealing the humanity of their subjects.

May 26, 2021 — Channel Calendars Next month, the Criterion Channel celebrates Pride Month with a host of extraordinary queer-themed films, including a new installment of our Queersighted series focusing on taboo-breaking artists, a trio of outré underground classics from John Waters, and a restrospective...

Apr 28, 2021 — Channel Calendars Next month, the Criterion Channel celebrates independent, pathbreaking, and underappreciated artists. We’ve got a retrospective devoted to Gena Rowlands (pictured), the indie-film legend whose acting blurred the line between life and performance; a centenary tribute to the great...

Apr 9, 2021 — Uncovering “The Naked City,” Bruce Goldstein’s scintillating chronicle of The Naked City’s groundbreaking New York location shoot, is more than the best “where-they-filmed-it” doc ever made. As Goldstein wittily traces director Jules Dassin’s Gotham roots and influences, this twenty-three-minute documentary—now...

Apr 2, 2021 — This week people are writing and talking about Eric Rohmer, Michael Mann, Adam Curtis, the new Jump Cut, and the king of the “geezer teasers.”

Mar 31, 2021 — The Austrian Film Museum and Punto de Vista celebrate one of the most influential programmers in the history of cinema.

Mar 29, 2021 — Filmmakers, programmers, and critics remember a man who “embodied the spirit of cinema as robustly as anyone ever has.”