The Criterion Collection
Jul 6, 2017 — Our very first DVD edition, Jean Renoir’s masterpiece Grand Illusion, streams on the Criterion Channel in celebration of the film’s eightieth anniversary.
The Daily
Jun 21, 2017 — Billing itself as “the world's longest continually-running film festival,” the Edinburgh International Film Festival opens its 71st edition today with Francis Lee’s God’s Own Country, one of five films Alistair Harkness recommends from the lineup in the Scotsman: “Already described...
May 31, 2017 — Long difficult to see, this transgressive silent masterpiece draws on a wide range of aesthetic influences to push against the boundaries of film form.
May 27, 2017 — “When French writer Delphine le Vigan published her book Based on a True Story in 2015, some critics dubbed it ‘a Hitchcockian novel,’” begins Jonathan Romney, writing for Screen. “It’s not surprising, then, that Roman Polanski’s adaptation is very Hitchcockian...
May 24, 2017 — “Sofia Coppola delivers a very enjoyable southern melodrama, the tale of a handsome, badly wounded Union soldier in enemy terrain during the American civil war who throws himself on the mercy of a ladies’ seminary—of all the outrageous things.” The...
May 22, 2017 — Yorgos Lanthimos’s The Killing of a Sacred Deer “makes the absurd, amazing The Lobster seem like a warm and cuddly experience by comparison,” declares Jessica Kiang at the Playlist. “A film of clean hands, cold heart, and near-Satanic horror, it...
The Daily
May 22, 2017 — “Michael Haneke is back to many of his old tricks in Happy End, which enfolds the child psychopathy of Benny’s Video, the bourgeois nightmare of Hidden, the euthanasia theme of Amour, and the racial discomfort of Code Unknown into a...
May 21, 2017 — “Arguably, more question marks hung over the prospect of Redoubtable than over any other film in Cannes this year,” begins Jonathan Romney in Screen. “One reason was the idea of Michel Hazanavicius, director of the world-beating The Artist, seeming too...
May 21, 2017 — “Neo-realism isn’t necessarily a genre built for star turns,” writes Guy Lodge for Variety, “but director Jonas Carpignano happened upon one anyway in his debut Mediterranea: Then-preteen Pio Amato wasn’t the lead in that accomplished, affecting refugee drama, but his...
The Daily
May 19, 2017 — We’ll get to the film at hand in a moment, but first—and just briefly—there’s no getting around the controversy that’s all but dominated the first couple of days at this year’s Cannes Film Festival. It began, really, when the festival...