The Criterion Collection
The Daily
Jun 20, 2018 — The anniversary edition features three world premieres and the best of this year’s Sundance.
Features
Jun 4, 2018 — For the production design on Mishima: A Life in Four Chapters, director Paul Schrader turned to famed graphic designer Eiko Ishioka. The below images of her groundbreaking sets, as well as this excerpted text, first appeared in the 2000 book...
The Daily
May 9, 2018 — “One of the best Welles documentaries” makes the case for the director as a brilliant graphic artist.
The Daily
Apr 9, 2018 — The retrospective of work by Lucrecia Martel at the Film Society of Lincoln Center will be the first of many around the country and abroad in the coming weeks, so we’ll take a closer look in a separate entry on...
The Daily
Apr 3, 2018 — A little over a month ago now, we posted Marvel mon amour, a video by Daniel Raim in which Stan Lee looked back on working with his good friend Alain Resnais (above with Olga Georges-Picot in Cannes in 1968) on...
Essays
Mar 30, 2018 — This spectacular and technically ambitious Hollywood musical is a priceless window onto American pop culture’s view of itself in the 1930s.
The Daily
Feb 7, 2018 — Last week, the SXSW Film Festival presented 132 features lined up for its 2018 edition running from March 9 through 18. Today, the festival announces that Wes Anderson’s Isle of Dogs will be this year’s Closing Night Film—and it’s added...
The Daily
Dec 29, 2017 — We open a round of holiday listening and viewing with Bill Simmons and Sean Fennessey’s conversation (99’38”) at the Ringer with Paul Thomas Anderson about Phantom Thread, the few brief clashes he had with Burt Reynolds on the set of...
The Daily
Nov 16, 2017 — “Hong Sang-soo has a reputation for being a tricky interview, and he knows it,” writes Darren Hughes in the Notebook. But if anyone can get Hong talking, it’s Hughes. Take a look at this page. Gathered here are some of...
The Daily
Oct 31, 2017 — In the latest entry in Reverse Shot’s symposium on time, Julien Allen proposes that “perhaps the most compelling display of Hitchcock’s bravura in Psycho [1960] occurs during one of its least discussed sequences, in which Norman Bates (Anthony Perkins) cleans...