The Criterion Collection
Aug 29, 2012 — With humor and melancholy, Franc Roddam’s coming-of-age drama, based on the Who’s iconic album, shows us a g-g-generation on the edge.
Sneak Peeks
Aug 15, 2012 — The idea that Luc and Jean-Pierre Dardenne have an uncanny ability to get right on top of the action in a scene without their camera’s ever feeling intrusive—to actors or viewers—is a common refrain in discussions of the Belgian directors’...
Essays
Aug 14, 2012 — The Dardennes threw down the gauntlet for a new type of unadorned dramatic storytelling with their breakthrough tale of a working-class boy’s fraught coming-of-age.
Jun 21, 2012 — The following interview with actor Ruth Gordon originally appeared in the April 4, 1971, edition of the New York Times. “Have ya gotta angle for the story?” The accent—part New England hayseed, part Dead-End Kid—is unmistakable. It belongs to Ruth...
May 29, 2012 — A watershed film in Bergman’s career, this tale of a woman caught between the past and present is a masterful study in darkness and light.
May 4, 2012 — Did You See This? • William Klein, unguarded • The New York Review of Books plays Stalker and swoons over silence • Artist Dan Flavin’s planned homage to the “low-key adventure, not really important at all” La notte • Buffalo...
Oct 28, 2011 — The following is excerpted from a 1972 interview that film scholar Joan Mellen conducted with director Kaneto Shindo. The interview originally appeared in the 1975 book Voices from the Japanese Cinema. I find the social dimension of your films very...
Oct 25, 2011 — An Erle C. Kenton–directed Paramount feature based on the 1896 H. G. Wells novel The Island of Dr. Moreau, Island of Lost Souls (1932) is the story of a mad scientist’s attempts to convert wild animals into human beings by...
Essays
Oct 4, 2011 — Director Catherine Breillat writes about the primal pleasures of watching Pier Paolo Pasolini’s notorious film.
Essays
Oct 4, 2011 — Vilified, censored, banned, denied commercial distribution, and long unavailable, Pier Paolo Pasolini’s infamous film lives more in reputation and rumor than in memory.