The Criterion Collection
The Daily
Jun 20, 2017 — “Bertrand Tavernier joins a growing list of filmmakers who've made what amounts to an epic video essay with My Journey Through French Cinema, a three-hour-plus leap into notable French filmmaking from roughly 1930 to 1980,” writes Clayton Dillard at Slant....
Jun 12, 2017 — Informed by his work in theater and his travels through rural America, Nicholas Ray brought an outsider’s perspective to genre filmmaking in his debut feature.
The Daily
Jun 9, 2017 — “The 25 Best Films of the 21st Century. So Far.” Frankly, this time of year, my cursor tends to fly right over a headline like that, having worn itself out on such lists from Thanksgiving through Oscar Night. But this...
The Daily
May 20, 2017 — “Custody of a white horse is one of several bones of contention between Bulgarian locals and visiting German laborers in Valeska Grisebach’s Western, a dispute that takes on the most classic symbolic dimension of the traditional oater,” begins Guy Lodge...
The Daily
May 18, 2017 — “Todd Haynes’s films, intellectually rigorous and often profoundly moving, are fractured stories in which alienated, beautiful characters try to find love (or a certain likeness) in the delicate folds of real life,” begins David Ehrlich at IndieWire. “All of this...
May 8, 2017 — Writer Durga Chew-Bose explores her personal connection to Uma Das Gupta’s quietly captivating performance as a carefree young girl in the masterful opening installment of The Apu Trilogy.
Apr 12, 2017 — British director Jack Clayton elicited landmark performances from a host of great ladies of the cinema, including Maggie Smith, Deborah Kerr, and Anne Bancroft.
Essays
Feb 5, 2017 — Kirsten Johnson interrogates the thorny ethics of nonfiction filmmaking in her intriguingly elliptical blend of essay, travelogue, and memoir.
Features
Jan 15, 2017 — To make the performance of a tedious, exacting, time-consuming task riveting to watch, it is only necessary for the activity to be illegal.
Jan 9, 2017 — A feast of whip-smart banter, Howard Hawks’s protofeminist take on newsroom politics is the most grown-up of all remarriage comedies.