The Criterion Collection
Short Takes
May 24, 2016 — “I always thought of musicians as being the saints of our time,” says documentary filmmaker D. A. Pennebaker in a recent interview for the New York Times on the subject of his 1967 vérité portrait of Bob Dylan Dont Look...
Short Takes
Aug 31, 2015 — “When you’re writing a screenplay, it’s like you’re dreaming the film for yourself again and again and again until it becomes almost like a memory before you make it,” says writer and actor Greta Gerwig in a new interview in...
Sneak Peeks
May 27, 2015 — Imagine being plucked from obscurity at age nineteen to star alongside Charlie Chaplin. That’s what happened to London stage actor Claire Bloom in 1951, when she was courted for the female leading role in Chaplin’s Limelight. We recently interviewed the...
Short Takes
Jul 25, 2014 — In April, the great Iranian director Abbas Kiarostami made a special onstage appearance at Indiana University Bloomington to discuss both his career and his latest film, Like Someone in Love, available from the Criterion Collection. We were there to record...
Dec 6, 2013 — Did You See This?• The truly lost art of silent cinema • Pascal Dangin, Frances Ha’s secret weapon • Behind film’s ultimate preservation society • A critic’s best of 2013—in dazzling motion • A new Richard Linklater film, twelve years...
May 21, 2013 — It’s tough to tell where reality ends and fiction begins in Haskell Wexler’s deft chronicle of a turbulent era.
Production Notes
Jul 18, 2012 — John Lurie reminisces about making Down by Law and Fishing with John.
Jun 13, 2012 — Tasteful British cinema got a refreshing dose of amorality with Danny Boyle’s stylish and violent tale of greed and paranoia.
Feb 22, 2012 — When it comes to depicting actual people’s jobs, the truism goes, Hollywood gets everything wrong with stunning regularity. The rare exception is Otto Preminger’s Anatomy of a Murder (1959), widely considered among the finest trial films ever made, and maybe...
Dec 6, 2011 — Ernst Lubitsch’s Design for Living (1933) is what sexy should be—delightful, romantic, agonizing ecstasy. And it’s not just sexy but also revolutionary, daring, sweet, sour, cynical, carefree, poignant, and so far ahead of its time that one could cite it...