The Criterion Collection
The Daily
Mar 5, 2018 — Along with 132 short films and a slew of masterclasses, installations, discussions, and other events, the Berlin International Film Festival presented 253 features this year. I managed to catch twenty-seven of them, and Adina Pintilie’s Touch Me Not, winner of...
Nov 21, 2023 — What stuck with me most after watching La cérémonie (1995) for the first time was the chewing gum.It’s not the scene most often cited in discussions of this late-career classic from French thriller master Claude Chabrol. Don’t get me wrong:...
Essays
Nov 25, 2013 — He massages, he gambles, and he’s great with a blade. Who is this blind swordsman, anyway?
The Daily
Dec 7, 2017 — “After mining the American soul (Boogie Nights, There Will Be Blood, The Master) as brilliantly as any working director has in the last fifty years,” begins Robert Abele at TheWrap, “Paul Thomas Anderson moves to 1950’s England for Phantom Thread,...
Sep 21, 2016 — An exhilarating blend of noir and splatter-flick tropes, the Coen brothers’ debut feature established their unique brand of cosmic fatalism.
The Daily
Mar 12, 2024 — The thirteenth edition offers twenty features, new short films by Kevin Jerome Everson and Nathaniel Dorsky, workshops and more.
Jan 26, 2023 — This great director from the golden age of Mexican cinema drew upon a wide range of styles to explore the conflict between tradition and modernity.
Aug 28, 2020 — “Anyone with that kind of brilliance, you just give them space . . . She was a kind of unique, extraordinary, eccentric wild animal. And some jewels came out of her mouth.” Richard Gere On Halloween 1978, a month after...
Jul 6, 2020 — The latest short film to take the spotlight on the Criterion Channel, Marnie Ellen Hertzler’s Dirt Daughter emerged from the collaboration of a vibrant community of artists. Not only was it produced by the innovative collective the Eyeslicer, which supports...
Dec 6, 2022 — Known for their austerity and shocking moments of violence, the Austrian director’s first three films cultivate a kind of humanism in their dogged refusal to coddle the viewer.