This Must Be the Place

Oct 4, 2011 — Director Catherine Breillat writes about the primal pleasures of watching Pier Paolo Pasolini’s notorious film.

Jun 24, 2009 — The following tribute to Sacha Vierny by Alain Resnais (pictured together above, Resnais left) was published in the October 2001 issue of Positif. It is based on an interview conducted by François Thomas and was translated for Criterion by Nicholas...

Mar 13, 2024 — The subject of a revelatory retrospective at last year’s Morelia International Film Festival, this groundbreaking director ushered in Mexican cinema’s golden age with vibrant explorations of the nation’s folk traditions and revolutionary past.

Mar 15, 2022 — The story of queerness in American cinema isn’t complete without the unusual case of These Three (1936) and The Children’s Hour (1961). Both films are based on Lillian Hellman’s 1934 play The Children’s Hour, inspired by an incident in which...

Aug 21, 2019 — One Scene One of my absolute favorite quotes from Douglas Sirk—and he has a million of ’em—was made in reference to Magnificent Obsession. “It is a combination of kitsch and craziness and trashiness,” he said (this isn’t the quote quite...

Oct 1, 2017 — “Since I saw Faces Places at its premiere at Cannes in May, [Agnès] Varda’s latest documentary has cemented itself on my running list of the year’s best titles,” writes Manohla Dargis in the New York Times. “Made with the French...

Jun 14, 2016 — Alexander Hall’s 1941 film showcased Robert Montgomery’s star power and, with its premise of a death revoked, provided much-needed comic relief to war-worried audiences.

May 12, 2016 — When director Amy Heckerling visited Criterion, she reflected on her days as a struggling filmmaker, the allure and disappointment of moving to the West Coast, and her love for old-Hollywood actors.

Jun 7, 2015 — Critic Glenn Kenny reveals the connection between two classics: Nicolas Roeg’s film Don’t Look Now and Robert Wyatt’s album Rock Bottom.

Jul 22, 2014 — Jeanne Moreau’s flighty, enigmatic Jackie in Jacques Demy’s poetic drama is in the great tradition of dreamy Demy heroines.