The Criterion Collection
Features
Apr 3, 2020 — Everyone remembers their first time with Toshiro Mifune. With almost anyone else, such a first would be recollected with a shrug or a casual “it was . . . fine.” But Mifune induces delirious and perfect recall: of him flat...
Sneak Peeks
Jun 21, 2017 — The pain of thwarted young love serves as the narrative center of Marcel Pagnol’s The Marseille Trilogy, but in many ways it is the character of César—a father figure who bears witness to the doomed romance between his son, Marius,...
Sneak Peeks
Sep 24, 2013 — By the time Roberto Rossellini joined forces with the international superstar Ingrid Bergman in the late 1940s, he had already left an indelible mark on the history of film with his groundbreaking works of neorealism, including Rome Open City, Paisan,...
Akira Kurosawa once said, “The ordinary Japanese actor might need ten feet of film to get across an impression. Toshiro Mifune needed only three feet.” The filmmaker certainly gave Mifune a lot of space, however: over the course of sixteen...
Jun 28, 2011 — Raymond Queneau’s Zazie dans le métro is the funniest book ever written in, and about, the French language. When it came out in 1959, it “made the whole of France laugh,” Jean-Paul Rappeneau, who helped Louis Malle adapt it to...
May 26, 2003 — Transcription of a speech given by long-time Derek Jarman collaborator and friend, actress Tilda Swinton
Oct 25, 1994 — Jim McBride’s David Holzman’s Diary, made for less than $3000 over 5 days of principal photography, manages to be twenty years ahead of its time and perfectly of its time. Spiritual forebear to the contemporary low-budget American independent film movement...
The Daily
Jan 21, 2026 — New films by Angela Schanelec, Lance Hammer, and Mahamat-Saleh Haroun will premiere in the competition.
The Daily
Jun 21, 2019 — Can the movies survive? Can rotten people be great artists? Are we all doomed?
Essays
Oct 4, 2011 — The spectacle of joyless lubricity and dehumanizing cruelty and carnage visualized by Pier Paolo Pasolini could not be further from the dry, dense, and circular arguments to be found in the printed pages of his bibliographic sources.