The Criterion Collection
Aug 23, 2016 — Tony Richardson’s era-defining exploration of sexuality, race, and working-class life brought a uniquely female perspective to England’s Free Cinema movement.
Jun 22, 2015 — Terry Gilliam touches down in the real world for the first time with this fanciful tale of blurred class boundaries in New York City.
Features
May 30, 2014 — The long relationship between director and festival has never been without its complications.
Mar 11, 2014 — Presenting five poor, black and white North Carolina preteens as they awaken to love and death, George Washington (2000) tells a common adolescent story, yet the film is distinguished by the poetic, ruminative style of its twenty-five-year-old director, David Gordon...
Jan 13, 2014 — With economy and panache, Michael Mann established his existential crime drama style with this breakthrough first feature.
Dec 18, 2012 — One Scene Every time I watch Ingmar Bergman’s Scenes from a Marriage, I am stunned that a film could be so full. Here is this thing stuffed with detail, design, behavior, emotion, surprise, and skill. Like Fanny and Alexander and...
Essays
Aug 31, 2011 — City symphony or spa burlesque? Polemic or caprice? From the outset, even in his manifesto lecture “Towards a Social Cinema,” delivered to the Groupement des Spectateurs d’Avant-Garde at Paris’s Le Vieux-Colombier before what was only the second public screening of À propos...
Essays
Apr 25, 2011 — Brian De Palma brought hip, freewheeling funkiness to the American film renaissance of the late 1960s and early 1970s. Wised-up, cinema-savvy audiences across the country knew to seek out his movies for their scruffy wit, showmanship, and aesthetic innovation, not...
Essays
Apr 28, 2008 — Adapted from Holling C. Holling’s classic, Bill Mason’s paean to nature follows the travels of a tiny, wooden canoe from a cabin in the Nipigon woods of west Ontario to the expanses of the Atlantic Ocean.
Essays
Jun 27, 2005 — Like his earlier adaptations of Terence Rattigan plays, Anthony Asquith’s late work is bereft of heavy-handed directorial flourishes.