Ghost

Jun 17, 2010 — How do you make a comedy about something as serious as the Nazi threat of world domination—particularly as it is happening? Perhaps there’s something in the English character that allows them to see humor in disaster. Some sort of survival...

Jun 14, 2010 — All writing is travel writing, the axiom goes. And for Jim Jarmusch, perhaps more than any other filmmaker working today, all movies are travel movies. It’s not a slight to call him the epitome of the filmmaker as tourist. In...

May 11, 2010 — The great Japanese actor Kei Sato passed away last week; he was eighty-one years old. You may not recognize Sato’s name, but if you’ve seen a Japanese film in the past fifty years, there’s a reasonably good chance you’ve fallen,...

A leading figure of the Japanese New Wave, this radical filmmaker tackled taboos and politically charged subjects with stylistic flair and striking symbolism.

Feb 9, 2010 — You can’t keep a good woman, or a great movie about a good woman, down. By all accounts, goodness in the real Lola Montez reflected the vagaries of character, not talent. She was, as Cosmo Brown says of Lina Lamont...

Oct 29, 2009 — In the spirit of the season, we asked a select coven of horror mavens (including a couple of our own) to write about their favorite Criterion scarefests. Chuck StephensEquinox: The Eyebrows of Mr. Asmodeus There are myriad ways into Equinox,...

Oct 15, 2009 — Our favorite Manitoban, Guy Maddin, cheerfully grim chronicler of storybook psychosexuality and charmingly modest self-mythologizer, is in Paris now for a special event. Though just fifty-three and very much still working, the filmmaker is the subject of a complete career...

Sep 8, 2009 — “It’s not my fault that I’m Japanese . . . yet it’s my worst crime that I am!” The words are those of Kaji, hero of The Human Condition (1959–61), but in his anguish and existential despair, he also speaks...

Apr 30, 2009 — The concept of “obscenity” is tested when we dare to look at something that we desire to see but have forbidden ourselves to look at. When we feel that everything has been revealed, “obscenity” disappears and there is a certain...

Apr 27, 2009 — The idea of making a film about Japan’s most famous sex crime, with a decent budget and in conditions of complete freedom, reawakened Nagisa Oshima’s desire to direct—and the prospect of circumventing Japanese censorship must have made the decision even...