The Criterion Collection
Sneak Peeks
May 7, 2013 — Band of Outsiders, now available in a Criterion Blu-ray edition, was Anna Karina’s fourth appearance in a film by her husband at the time, Jean-Luc Godard. The film contains what may be Karina’s sprightliest performance, the perfection of her attunement...
Essays
Jul 8, 1992 — Since its first screening in 1960, Jean-Luc Godard’s astonishing debut has lost none of its power to thrill an audience or change the way we see the world.
Nov 29, 2023 — To watch Matt Wolf’s revelatory documentaries is to see life as a moving collage in which the past and present are woven together. Over the course of nine intensely researched and intricately crafted features and shorts, Wolf has combined his passion for...
Oct 19, 2021 — The works of great artists have a way of reactivating fundamental questions about the nature and potential of an art form. In the case of filmmaker Lynne Ramsay, these questions revolve around a word that has been used routinely to...
In Theaters
Feb 14, 2019 — Repertory Picks This Friday, critic Girish Shambu will present Aki Kaurismäki’s warmhearted fable Le Havre (2011) at the TIFF Bell Lightbox in Toronto. The first entry in an ongoing trilogy about the plight of refugees in twenty-first-century Europe, the film is set...
Dec 9, 2018 — Songbook The final scene of Robert Altman’s 1975 film Nashville belongs to the transient wannabe singer Albuquerque, played by the late Barbara Harris. Up to that point, the storyline has followed numerous musician characters who are striving to get discovered or bolster...
Oct 21, 2014 — Federico Fellini’s frantic tragicomedy is such a classic it risks being underestimated.
Essays
Nov 22, 2011 — The title of Wes Anderson’s Rushmore refers to the ivy-covered prep school attended by the film’s central character, Max Fischer (Jason Schwartzman). Max, with his bushy eyebrows and imposing glasses, loves his school beyond reason and is Rushmore’s number one...
Jul 29, 2024 — Made in an era when self-consciously postmodern takes on the Bard were popular, Gus Van Sant’s melancholy road movie mines the ambiguously queer tensions in the history play Henry IV.