The Criterion Collection
Dec 13, 2011 — Seijun Suzuki’s delirious, absurdist deconstruction of the crime genre is the strangest film the director made at Nikkatsu, Japan’s oldest film company.
Mar 17, 2010 — Congratulations to yesterday’s winner, Caroline! Caroline’s pick for a work of Western literature she wishes Kurosawa had adapted was Oedipus Rex: I would love to have seen Kurosawa do Sophocles’s Oedipus Rex. Honestly, I think that he is the only...
The Daily
Jan 29, 2021 — This week sees a new publication, a revived column, and countless hours of conversations about movies.
Oct 22, 2014 — The Academy Award–nominated independent filmmaker Don Hertzfeldt has amassed a major cult following for his meticulously crafted animated movies, which includes the shorts Rejected (2000), The Meaning of Life (2005), Everything Will Be OK (2006), and I Am So Proud...
Jan 4, 2007 — As we get back from vacation, the e-mail boxes are full. Kim, several of the other producers, and I have been doing our best to get to it all, but it’s beginning to pile up. We’ve been pretty good about...
The filmmaker looks back on seeing Dr. Strangelove in the cinema with his parents as a teenager, talks about a failed attempt to show one of his favorite movies to Robert Crumb, and shares how All About My Mother inspired...
During a trip to what he calls our “city of movies,” the director of Afire talked about the jazzy qualities of Steven Soderbergh’s films, the inspiration he has taken from Preston Sturges, and an overpoweringly erotic moment in Stromboli.
During the production of our release of Matewan, the first Sayles film in the collection, the director paid us a visit and talked about some of his formative moviegoing experiences.
Phillip Lopate’s latest book is A Mother’s Tale. He has written extensively on the movies for the Criterion Collection, Film Comment, Cineaste, and the New York Times and is a professor at Columbia University.
Jul 20, 2022 — A brutal critique of the American dream, Carl Franklin’s 1995 thriller explicitly confronts the racialized implications of classic film noir.