The Criterion Collection
Amina Cain is the author, most recently, of A Horse at Night: On Writing and the novel Indelicacy. Her second novel, My New Face, will be published next year by Farrar, Straus and Giroux. She lives in Los Angeles.
Mariah Larsson is a professor of film studies at Linnaeus University in Sweden. She is the author of A Cinema of Obsession: The Life and Work of Mai Zetterling (University of Wisconsin Press, 2020). Among her other publications are The...
Thomas Elsaesser is professor emeritus in the Department of Media and Culture at the University of Amsterdam. He is the author of New German Cinema: A History (1989) and Fassbinder’s Germany: History Identity Subject (1996). His recent publications include European...
Paul Coates is a professor emeritus of film studies at Western University, Ontario. Previously, he taught at Georgia, McGill, and Aberdeen, and his books include The Story of the Lost Reflection (1985), The Gorgon’s Gaze (1991), Lucid Dreams: The Cinema...
Aug 26, 2025 — Alice Wu’s feature debut is a romantic comedy in which the most compelling relationship is the one between a young queer Chinese American woman and her long-widowed mother.
Sneak Peeks
Apr 26, 2019 — In conceiving the journey of Lonesome Rhodes—the protagonist of the 1957 satire A Face in the Crowd, a southern drifter who rises to become a national TV celebrity and political power broker—director Elia Kazan and screenwriter Budd Schulberg went on...
Apr 9, 2018 — Ingrid Bergman’s work in her native Sweden was an early showcase for her dazzlingly precocious talent and emotional depth.
On the Channel
Feb 12, 2018 — Mexican filmmaker Guillermo del Toro shares heartfelt appreciations for eleven of his favorite films in the collection.
Sneak Peeks
Oct 17, 2013 — Christiane’s countenance is one of the most memorable in all of horror cinema—yet you barely get to see the real face of the actor playing her. Edith Scob is an ethereal force in Georges Franju’s Eyes Without a Face as...
Oct 16, 2013 — Georges Franju deftly balances fantasy and realism, clinical detachment and operatic emotion, beauty and pain, all presided over by Edith Scob’s haunting, haunted eyes.