The Work

Jun 5, 2017 — Catherine Grant points us to the new issue of the open access journal Film-Philosophy. Before we begin paging through it, let’s have a look at a piece by Benjamin Crais which the Notebook ran last December:For Anglophone readers, Jean Louis...

May 27, 2017 — The Un Certain Regard jury of the 70th Cannes Film Festival—Uma Thurman (president), Mohamed Diab, Reda Kateb, Joachim Lafosse, and Karel Och—have announced the winners of this year’s awards.Un Certain Regard Prize: Mohammad Rasoulof’s A Man of Integrity. At the...

Mar 13, 2017 — In late 2016, I was commissioned by the Criterion Collection to photograph the cover and interiors for the edition of Andrew Haigh’s masterful 45 Years. I’m a photographer and artist based in the UK, and I had first worked with...

Feb 3, 2017 — Over on the Criterion Channel, for Super Bowl weekend, we’re showing the first football movie ever made, Harold Lloyd’s crackerjack comedy The Freshman (1925), and the first rugby-football movie ever made, Lindsay Anderson’s heart-pounding drama This Sporting Life (1963). And...

Dec 16, 2016 — Earlier this week, we released our edition of John Huston’s 1950 heist film The Asphalt Jungle, whose combination of meticulous plotting and sympathetic characterization remains a blueprint for the genre. Set amid the smoky streets of an unnamed city in...

Dec 13, 2016 — John Huston’s meticulously calibrated crime film combines nail-biting suspense with a mood of Chekhovian regret.

Aug 11, 2016 — Gus Van Sant’s groundbreaking 1991 work of New Queer Cinema, which follows the relationship between a narcoleptic haunted by feverish dreams of his past and the rebellious son of a mayor, is showing at the George Eastman Museum.

Jul 30, 2016 — Art director Eric Skillman describes working with Jack on the design for our release of Stanley Kramer’s It’s a Mad, Mad, Mad, Mad World as one of the highlights of his career.

Jul 7, 2016 — In honor of the director, we look back at his quintessentially American narratives.

Jun 7, 2016 — Michelangelo Antonioni’s 1955 feature about a group of Turinese women plays on the themes of the novel it was adapted from, while showcasing the developing style of the soon-to-be legendary director.