No Way Out

Dec 20, 2017 — Over the past decade, contemporary Greek cinema has erupted onto the international film stage with a new vanguard of directors whose bold works share a taste for provocation and highly stylized worlds. This week on the Criterion Channel on FilmStruck,...

Dec 12, 2017 — “Evil is ascendant,” begins Manohla Dargis in the New York Times. “The Resistance—an intrepid, multi-everything group whose leaders include a battle-tested woman warrior—has been fighting the good fight for years but is outnumbered and occasionally outmaneuvered. Yes, the latest Star...

Sep 17, 2017 — There’s no getting around the loaded real-world context on this one. For the Daily Beast, Richard Porton begins with the “various accusations about [Louis C.K.’s] supposed sexual misconduct, which have been floating around for years since a 2012 Gawker story...

Feb 11, 2017 — Ermanno Olmi captures the dignity of work in this painterly vision of late nineteenth-century rural Italy.

Dec 13, 2016 — Yesterday, we kicked off our Criterion Channel series Spy Games by sharing Graham Greene's review of Jacques Feyder’s Knight Without Armour, a highlight in the lineup. Today, we’re focusing on another title in the series, Sabotage, which marked “the first...

May 31, 2016 — With Alice in the Cites, Wim Wenders created one of the most nuanced and complex portraits of an empowered young girl ever seen on-screen.

Jun 16, 2014 — Georges Franju evokes the surreal silent serials of Louis Feuillade while constructing his own personal cinematic paradise.

Feb 17, 2014 — Flailing fathers, anxious mothers, and their moody offspring—these characters may have tails, but they’re Wes Anderson people through and through.

Oct 23, 2013 — If there’s one quality that separates John Cassavetes’s movies from almost everybody else’s, it’s the density of detail in the storytelling. His films need to be read closely, from beginning to end. There are no lulls with Cassavetes, no lapses...

Oct 4, 2013 — This fascinating first contact between Roberto Rossellini and Ingrid Bergman kicked off one of cinema’s greatest—and most controversial—love affairs.