Time Has Come

Oct 14, 2022 — Martin Scorsese remembers Jean-Luc Godard, Francine Prose admires Jafar Panahi, and Guy Maddin discusses his earliest and newest works.

May 25, 2022 — Combining the expressive power of a great storyteller with the skill of a master craftsman, Sean Phillips is an artist we’ve come back to time and time again at Criterion. From Sweet Smell of Success to On the Waterfront to...

Apr 27, 2022 — In his uncompromising chronicles of modern Japanese society, the celebrated filmmaker shows a deep understanding of both larger-than-life individuals and collectives of ordinary citizens.

Oct 4, 2021 — Mills winningly enlivens the old tropes of a story we’ve seen a thousand times before.

Aug 8, 2021 — This month on the Channel, dive into the films of John Huston, Jean Harlow, Josephine Baker, and other cinematic icons.

Jun 29, 2021 — In Dee Rees’s ambitious and lyrical debut, the inner life of a queer Black teenager and poet is summoned in all its nuances and contradictions.

Apr 6, 2021 — The new issue spotlights some of the most notable films from this year’s Berlinale—and more.

Mar 23, 2021 — “Pleasure,” wrote Samuel Butler in The Way of All Flesh, “is a safer guide than either right or duty.” Surely this is true when it comes to watching films. While cinema can be edifying, most of us go to the...

Mar 10, 2021 — For about five minutes in Alan J. Pakula’s The Parallax View, the lights go down on our movie and we’re shown another—an increasingly deranged propaganda short designed to suss out whether someone is Parallax material. That is to say, an...

May 8, 2020 — The opening and closing credits in a film are a form of housekeeping, fulfilling a legal obligation to compile the names of cast and crew who made the final product possible. Visionary designer Saul Bass saw the aesthetic potential in...