The Criterion Collection
The Daily
Jun 21, 2017 — Those lists of twenty-five best films of the twenty-first century (so far) keep coming, and J. Hoberman’s now posted his, too. He’s customized the rules somewhat, and we can be glad: “My single ‘best’ film-object”—Christian Marclay’s The Clock (2010)—“is followed...
The Daily
Jun 16, 2017 — The title of the first part of Tom Paulus’s projected three-part essay for photogénie, “The Love Connection: Another Jam Session on Narrative,” references “Jam Session on Non-Narrative,” a conversation that took place between film critics Jonathan Rosenbaum, David Ehrenstein, and...
The Daily
Jun 15, 2017 — New York. “Among the most savage and surreal of Italian comedies, starring one of the country’s biggest stars”—Alberto Sordi—“and directed by one of its legendary filmmakers, Vittorio De Sica’s Il Boom barely made a ripple when first released, in 1963,...
Jun 1, 2017 — By turns gritty and lyrical, this portrait of the Syria-Turkey border brings together two pioneers of Turkish cinema.
The Daily
May 20, 2017 — “If he hadn’t already laid claim to the title of king of the cringe-inducing confrontation and nabob of the nervous laugh with the withering Force Majeure, Ruben Östlund truly anoints himself with The Square, an excoriating razor-burn of a movie...
Jan 9, 2017 — A feast of whip-smart banter, Howard Hawks’s protofeminist take on newsroom politics is the most grown-up of all remarriage comedies.
Aug 17, 2015 — François Truffaut’s love letter to the movies is a lightheartedly self-reflexive symphony of camera movement and musical flourish.
Features
May 7, 2015 — Movie comedies about moviemaking through the decades
Short Takes
Feb 20, 2015 — In time for this year’s Academy Awards ceremony, we wanted to celebrate all the incredible women who have been nominated for best actress Oscars for their roles in Criterion titles. They range from the 1930s to the 2010s, and include...
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.