The Criterion Collection
Aug 3, 2015 — On film noir’s unparalleled roster of resonant titles—Kiss of Death, Out of the Past, and Where Danger Lives, to name three—none is more emblematic or iconographically cogent than Night and the City. Juxtaposing two of noir’s essential, virtually ontological qualities,...
Mar 18, 2016 — The French filmmaker discussed revisiting the world of his breakthrough feature, his desire to communicate with a younger generation, and his signature cinematic flourishes.
Nov 30, 2009 — The following essay was originally written for Criterion’s website in 2005, on the occasion of the DVD release of Powell and Pressburger’s The Tales of Hoffmann. We have posted it here to coincide with BFI Southbank’s ongoing Hein Heckroth exhibition...
Essays
Sep 22, 2015 — Two precocious youngsters try to carve out a corner of the world just for themselves in Wes Anderson’s alternately melancholy and boisterous tale of growing pains.
Essays
Jan 7, 2014 — Satyajit Ray was ailing when he made them, but these three works from the great filmmaker’s final years show an artist at the height of his powers.
On the Channel
Jan 29, 2024 — Get ready for Valentine’s Day with a collection of otherworldly love stories, and celebrate Black History Month with a selection of films exploring African American history.
Dec 12, 2023 — In the history of cinema, French director Albert Lamorisse is a unique figure. His intense focus on three subjects—children, animals, and flight—is distinctive, and the fact that all of his works clock in under ninety minutes (and most under an...
Nov 15, 2022 — A box-office success that buoyed Hong Kong’s beleaguered movie industry in the early 2000s, this suite of crime films combines narrative intricacy and moral complexity with an abundance of megastar charisma.
The Daily
Sep 6, 2022 — Here’s an overview of how some of the contenders are faring with critics in Venice.
Nov 17, 2021 — Decades after Peter Lorre’s knife-toting creep Hans Beckert prowled the Berlin streets in search of little girls in Fritz Lang’s M (1931); after Robert Mitchum’s silver-tongued Harry Powell cut down all the “smooth and curly-haired things” he could get his...